Content+Technology ANZ July-August 2022

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VOLUME 19/ISSUE 4

JULY / AUGUST 2022

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY www.content-technology.com

Preview Issue

ABESHOW 2022 Empowering Content Production & Delivery Technology

Quarra IP PTP switches

ST2110 compliant, AES67 / Ravenna approved!

ISSN 1448-9554

SCAN for details

ABE2022 REGISTER AT abeshow.com

August 9-11, Doltone House Darling Island, Pyrmont.

2022 ABESHOW Exhibitors include 4Amber Technology 4Pacific Live Media 4Arri 4Professional Audio & Television (PAT) 4Blonde Robot

The 2022 ABE Exhibition, Conference and Workshops are returning to Doltone House, Darling Island, Pyrmont, from August 9–11.

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Hear from industry experts on hot topics such as IP production and delivery, 4K, HDR, HEVC, OTT, VR, cloud broadcasting and more.

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VOLUME 19/ISSUE 4

JULY / AUGUST 2022

Sportscasting... page 37.

REGULARS 02 EDITOR’S WELCOME

62 INDUSTRY FOCUS

64 CLASSIFIEDS

FEATURES 06 NEWS+PEOPLE Telstra Fetch Deal

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Unopposed; Netflix to Acquire Animal Logic; Magnite Expands Oz CTV Business with Samsung Ads; Artel Video Systems and PAT Partner; People on the Move.

12 ABE2022 PREVIEW Empowering Media Production & Delivery - Conference & Exhibition, Doltone House, Darling Island, Sydney, from August 09-11, 2022.

24 CAMERAS & LIGHTING Sony Makes ‘The

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Bachelor’ More Eligible; ‘The Land’ Completed with Blackmagic; ARRI’s ALEXA 35; Canon EOS Firmware; Matthews Air Climber; ZEISS Lens Data Solution; Teradek Streaming and Collaboration; Multi-Camera Switching for LED Volumes; Ultra-Quiet Film Assist; ZEISS Supreme Prime 15mm T1.8

31 SPORTSCASTING Gravity Media Captures

History at Pho3nix SUB7 SUB8 Triathlon; Ex-Fox Sports Creatives Launch PostMatch Agency; NativeWaves Enhances Fan Experience; SPORTEL to Touch Down in Bali in 2023; News Corp Launches Community Sports Streaming Service; Quantum-Link Matrix; Vislink NFT-Ready Video Clipping Tool; IBM Serves AI and Cloud-Powered Fan Experiences for Wimbledon; and more.

38 NEWS OPERATIONS Why the ABC’s Plan to

58 CONTENT+TECHNOLOGY ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN 34 095 653 277) PO Box 165 Surry Hills, NSW 2010, Australia www.broadcastpapers.com PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811 papers@broadcastpapers.com

Axe Librarians will Damage its Journalism; Telemetrics Advances Remote Camera Control Portfolio; ABC News Onboard with Qantas; Autoscript Upgrades Winplus-IP Prompting Software; Haivision SRT Support for Aviwest.

ADVERTISING MANAGER: Adam Buick Mob +61 (0)413 007 144 adam@broadcastpapers.com PRODUCTION MANAGER: Lucy Salmon Mob +61(0)412 479 662 production@broadcastpapers.com DESIGN & LAYOUT Wide Open Media Mob +61 (0)419 225 348 www.wideopenmedia.com.au PRINTING: SOS Printing, Sydney

42 POST-PRODUCTION ‘Dark Noise’ Sees

the Light with Blackmagic; Autodesk Debuts Flame on AWS; Cinedeck Supports Blackmagic; AJA openGear Updates; DaVinci Resolve 18; disguise Unreal Engine 5 Plugin; Frame.io for Creative Cloud; Lightworks 2022.2.

47 MEDIA IN THE CLOUD Seven Sets Sail

with Techtel and Spectra’s BlackPearl; Cloud-Powered DRM; Dalet Flex Advances Accessibility, Workflows; EVS MediaCeption Signature; ELEMENTS Launches Cloud Solution; DataCore Software and Atempo Combine Forces; Avid’s Next-Gen NEXIS; Arcitecta’s High-Speed Data Mover; TVU’s Critical Threat Defence for Broadcasters.

52 AUDIO, RADIO, PODCASTING Meta Sounds Out the Metaverse; SCA Launches Broadcast Audio Attention Study; Neve 88M Sound on the Desktop; Audient Next-Gen iD44; Neumann NDH 30 Headphones; Massive EQ from Pulsar Audio; Wireless Sync for TASCAM Portacapture X8; EVO by Audient Launches EVO 16; Sony Shotgun Mic; and more.

58 CONTENT DELIVERY Foxtel Installs

Largest TAG Monitoring Platform in Southern Hemisphere; Witbe Completes Witbox Test Lineup; Etere 32.2 Supports Multicast UDP; Imagine Partners with Panasonic for IP Production; Haivision, Grass Valley Lower Latency for Live Cloud Production; Actus Enhances Intelligent Monitoring; Haivision Hub Cloud; Evertz Takes Live Production to Azure.SDI VIdeo Processing.

COPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under Australian Commonwealth Copyright Laws. No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder.

DISCLAIMER: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

EDITOR’S WELCOME

A Stream Always Finds Its Way

By Phil Sandberg

ersburg

On top of earlier cost-cutting, the company says it will pursue

ABEShow2022 As Media Partner and Organiser for ABEShow2022, we are proud to do what we can to bring the industry back together again after the past few years. See our preview on page 12 and we hope to see you at Doltone House, Darling Island in Sydney from August 9-11.

Visit www.abeshow.com

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As it stands, Netflix is carrying gross debt of USD$14.3 billion (within its targeted range of $10-$15 billion). With cash of $5.8 billion, net debt totals $8.5 billion, and the company says, “the first priority for our cash is to reinvest in our core business and to fund new growth opportunities like gaming, followed by selective acquisitions (such as that of Australian VFX pioneer Animal Logic - see page 7).”

to present content like the now vanished DVD rental stores.

Adaptation must be the way forward.

In a statement, the company said, “Our advertising business in a few years will likely look quite different than what it looks like on day one. Over time, our hope is to create a better-than-linearTV advertisement model that’s more seamless and relevant for consumers, and more effective for our advertising partners.

While it will take some time to grow our member base for the ad tier and the associated ad revenues, over the long run, we think advertising can enable substantial incremental membership (through lower prices) and profit growth (through ad revenues).”

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In APAC, revenue grew 23% year over year, excluding F/X. At over $900 million of revenue, APAC is approaching the size of its LATAM business. Netflix says it added 1.1 million paid memberships in the region (vs. 1.0m last Q2).

And, so, the future of streaming seems assured. Of course, there will be successes and failures.

Services will come and go. Like every other media platform, there will be peaks and plateaus, the fashionable and the fashion victims. As has always been the case, it will come down to the content offering. Using its supernatural 1980s nostalgia fest, Stranger Things, as an example, Netflix highlighted the show’s “Twitter Volume” as compared to Disney’s Obi Wan Kenobi and 16:00

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After citing global uncertainty, rising living costs, an oversupply of operators, and Netflix’s own projections from its Q1 reporting, the pundits quickly u-turned on the news that the company had only lost half of the subscribers it had previously projected (still, losing just under a million paying customers is a hit whichever way you look at it).

Paid Sharing. Netflix has been trialling “add extra member” and “add a home” functionality as part of this strategy and will roll out a solution in 2023. It will also introduce a lower-priced advertising supported tier and has been working with Microsoft on technology and sales (other tiers will remain ad free).

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the Tom Cruise vehicle, Top Gun: Maverick. Not only was it roughly eight times that of the Top Gun sequel and twice that of the Star Wars offshoot but, according to the company, it reinforced its binge versus staggered-release strategy. In the US, the service’s total viewing time, some 1334 billion minutes, is nearly 1.8 times that of its nearest rival, CBS.

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IN THE LEAD-UP to Netflix’s announcement of its Q2 results, a great many pundits were proclaiming the decline of the streaming service and, indeed, that of subscription streaming services in general.

So, far from being the end of streaming as we know it, this shift reflects an evolutionary point for the sector. It is no longer enough

Keep safe, thanks for reading, and look after each other, Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414671811

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EDITOR’S WELCOME

Quarra

IP PTP switches Quarra 1 Gbps PTP Ethernet Switch

Quarra 1G Compact PTP Ethernet Switch

Quarra PTP 10 Gbps Ethernet Switch

The Quarra range of IP PTP switches provide leading-edge precision timing protocol switch technologies and have become de-facto standards for the AES67/ SMPTE ST-2059-2 (IEEE1588) audio market interoperates meeting the SMPTE 2110 video standards.

Features include: •

Industry’s most accurate IEEE 1588 timing & synchronization for nanosecond accurate timing

•

Synchronous (L1) Ethernet, Master and Slave. Precision clock timing using DSPLL® technology

•

1pps reference. Network wide synchronization using IEEE1588 or SyncE

•

SMPTE Standards-based timing - ST 2110-10 system timing and definition - ST 2059-2 SMPTE profile for use of IEEE-1588 precision time protocol in professional broadcast applications

•

Ravenna AES67 approved

•

IEEE802.1 AVB

•

Full management from Web GUI or command line interface. No training required-units can be quickly and easily configured

EDITOR’S WELCOME

Come visit us at ABE2022 - Booth 2

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AU www.proaudiotv.com.au

02 9476 1272

sales@proaudiotv.com.au

Follow us:

NZ www.proaudiotv.co.nz

+64 0800 002 417 sales@proaudiotv.co.nz

NEWS + PEOPLE For the latest news visit www.content-technology.com

Karen Clark Heads APAC for Telstra Broadcast Services TELSTRA BROADCAST SERVICES has announced that Karen Clark will now lead its Asia Pacific business, in addition to her current role as Head of Australia and New Zealand.

With a background in software engineering, Clark served as Commercial Manager with Globecast Australia before its acquisition by Telstra and became Head of Sales (ANZ) with the newly expanded Telstra Broadcast Services. She was appointed Head of TBS for ANZ in 2021. She is also a Section Manager with the Society of Motion Picture and Television Engineers (SMPTE) – Australia Section.

Commenting on her latest appointment, Clark said, “Over the last few years, we’ve seen significant growth in our Australia/New Zealand business

by offering a broader portfolio, including cloudbased playout, media content operations, remote production and online services. I’m really looking forward to bringing this capability to our media customers across the APAC region to complement our existing Media Networks business. Telstra continues to prioritise investment in APAC with the largest intra-lit Asia subsea cable network. We believe the combination of these in-house assets with our suite of managed media services and professionals, will provide great value to the media and entertainment industry across the region.”

Visit https://www.telstra.com.au

Narelle Vine to Lead AE Live Australia AE LIVE, A GLOBAL PROVIDER of graphics and data solutions, has announced the appointment of Narelle Vine as General Manager for Australia.

Narelle brings more than 25 years of experience in management positions at companies in the creative and communications industries. She previously worked at Foxtel as General Manager for Felix, Foxtel’s internal agency, delivering creative communications and production services across all channels, before being appointed General Manager – Marketing Operations and Felix, leading operations across Foxtel’s Customer and Retail Group.

NEWS + PEOPLE

Commenting on her appointment, Narelle said, “There’s an authenticity and heart in the business which spans the globe, and the seamlessness in our collaboration across regions is unrivalled. Our people and our fantastic partners are heavily invested in excellence as we deliver sporting experiences into people’s homes and hands. We live in one of the most saturated sports markets in the world and I look forward to driving our ever expanding remit into horizons new, be that code, client or other market

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segments.”

Nick Baily, CEO at AE Live, said, “Narelle brings an outstanding combination of skills in advertising and marcomms, coupled with experience in business development and optimisation through her extensive experience working both in-house and as an external consultant. She is a big asset to AE Live as we look to grow our business in Australia and the wider Asia-Pacific region.”

Headquartered in London, AE Live is a graphics supplier and technology partner to its clients, with a special focus on the fields of remote or centralised production, augmented reality and virtual studios. As part of its international expansion, the company has subsidiaries in the USA, South Africa, India, Australia, New Zealand and Malaysia.

In Australia, AE Live has worked with clients including Nine, Fox Sports, Seven, NRL, Optus Sport, Sky Racing, Ten, and Swimming Australia.

Visit https://ae.live

Emma White Named NZ Co-MD of Warners TV Production

Net Insight’s Andersson Returning to APAC

WARNER BROS. INTERNATIONAL Television Production New Zealand has appointed Emma White to the role of Co-Managing Director. She will join Mike Molloy, Co-Managing Director, New Zealand reporting directly to Ronald Goes, Executive Vice President and Head of Warner Bros. International Television Production (WBITVP) and will be jointly responsible for running the company’s production operations in New Zealand. White takes over the role previously held by Greg Heathcote, who announced his decision to step down earlier in the year for health reasons.

WBITVP New Zealand is part of WBITVP’s global network of TV production operations and produces some of the country’s most successful entertainment shows, including WBITVP formats The Bachelor & Bachelorette, Celebrity Treasure Island, and 60 Seconds, as well as third-party shows The Block NZ and RuPaul’s

VIDEO TRANSPORT and media cloud technology provider Net Insight’s former Vice President Sales and Head of APAC, Kenth Andersson, is making a return to the Asia-Pacific to once again head up the company’s regional operations from Singapore.

Drag Race Down Under. Scripted productions include acclaimed drama series Black Hands and the black comedy Fresh Eggs.

With experience spanning both entertainment and factual genres, Emma previously served as Head of Unscripted, and Executive Producer on many of the company’s key series including RuPaul’s Drag Race Down Under, The Masked Singer NZ, Survivor NZ, The Bachelor NZ, The Great Kiwi Bake Off, Project Runway NZ, The Block NZ, and Married at First Sight NZ. Emma White said: “I’m delighted to be working alongside Mike at the helm of WBITVP New Zealand, showcasing the very best of homegrown creativity and world-class entertainment, and look forward to working with our brilliant team in the next exciting chapter of our business.”

Visit www.wbd.com

Andersson is moving back to the Lion City to take up the role of Head of APAC from the 1st of August.

Since late 2020, Andersson has been serving as Net Insight’s Head of Strategic Alliances – M&E Business Development, based in Stockholm, Sweden.

According to Andersson, “The company is driving the transformation to IP, virtualisation and cloud workflows and has built the market’s most open and cloud-ready media delivery platform for contribution, distribution, live production, high accuracy synchronisation 5G and

distributed orchestration.

“The future is IP, cloud and to reduce complexities related to network orchestration – and we open up its benefits at minimal cost!”

Earlier this year, Net Insight announced it had been working with Meinberg, a global leader in time synchronisation, to enhance the company’s synchronisation solution, Precision TimeNet, with a tighter integration of the standard IEEE1588v2 Precision Time Protocol (PTP) technology and full PTP interoperability and seamless failover from Global Navigation Satellite Systems (GNSS). Net Insight selected Meinberg’s PTP software stack to implement full PTP functionality in all its platforms.

Visit https://netinsight.net

NEWS + PEOPLE For the latest news visit www.content-technology.com

Introducing ATEM Constellation HD

New live production switchers with standards converters on all 3G -SDI inputs, DVEs, multiviews and more!

Introducing the world’s most powerful HD live production switchers! ATEM Constellation includes advanced features such as DVEs, advanced chroma keyers, media players, multiviews and more! The built in Fairlight audio mixer includes a compressor, limiter, 6 band parametric EQ and expander on each input. Plus it includes the free ATEM Software Control for Windows and Mac.

Includes Multiview with Labels, Tally and Meters

Standards Converted 3G-SDI Inputs!

Broadcast Transitions, DVE, Stingers and More!

The ATEM Constellation HD family features models that have up to 40

ATEM Constellation HD includes a wide range of broadcast quality transitions

independent 3G-SDI inputs, with each input featuring its own dedicated up and

such as mix, dip, wipe, and more. All transitions can be customized in the

cross converter. That means it’s possible to convert any 1080p input source

system control menus with adjustments for border color, border width, position,

to the video standard of the switcher! That means each switcher SDI input

direction and a lot more! The ATEM Constellation switcher also includes a

can run a completely different television standard and it all just works!

powerful digital video effects processor for DVE transitions.

Customizable 3G-SDI Outputs

Choose from 3 Powerful Models!

The ATEM Constellation HD family have a massive number of fully independent

ATEM 1 M/E Constellation HD..............................$1,569

independently route any SDI input or any internal source to each SDI output.

That’s perfect for running independent feeds to stage screens, recorders and streaming processors. Plus all SDI outputs include RP-188 timecode, SDI camera

All external SDI inputs, plus all internal video sources can be routed to any view. The multiviews are fully customizable and can be set to 4, 7, 10, 13 or 16 simultaneous views. You can also get a tally indicator, source label and VU meter overlay on each view.

ATEM 2 M/E Constellation HD............................ $2,669 ATEM 4 M/E Constellation HD.............................$5,475

control, tally and talkback.

www.blackmagicdesign.com/au

Learn More!

NEWS + PEOPLE

3G-SDI outputs. These SDI outputs are very powerful because you can

The built in multiview lets you monitor multiple sources on a single monitor.

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NEWS + PEOPLE

Telstra’s Proposed Acquisition of Majority Stake in Fetch TV Not Opposed THE ACCC WILL NOT OPPOSE the proposed acquisition of 51.4% of Media Innovations Holdings Pty Ltd (Fetch TV) by Telstra Corporation Ltd. Telstra and Fetch TV both supply content aggregation services through set-top-boxes. Telstra supplies Telstra TV with eligible Telstra retail broadband services and Fetch TV supplies set-topboxes to broadband retailers to supply as an add-on to broadband services, and directly to consumers through select retail stores.

The ACCC’s review focussed on whether Telstra would have the ability and incentive to foreclose competing broadband retailer’s access to Fetch TV. “Our investigation found that entertainment offerings are one important way for broadband retailers to differentiate themselves from competitors,” ACCC Commissioner Liza Carver said.

“However, Fetch TV does not appear to be critical or a ‘must have’ aspect for Telstra’s retail broadband competitors to offer consumers a competitive retail broadband service. With this in mind, it is unlikely the proposed transaction would lead to Telstra foreclosing rival broadband providers,” Ms Carver added.

Several broadband retailers, including those that offer Fetch TV, also supply other entertainment offerings or other inclusions. For example, SubHub

by Optus allows customers to combine and save on subscription video on-demand services like Netflix.

Optus, the third largest broadband retailer and a customer of Fetch TV, has paused offering new Fetch TV services to broadband customers.

“Less than 10% of retail broadband customers in Australia acquire Fetch TV services from their retailer and there are a

growing number of ways in which consumers access and consume entertainment content, including through smart TVs without the use of a set-top-box,” Ms Carver said.

The ACCC also considered the overlap between Telstra TV, Fetch TV and Foxtel, which is 35% owned by Telstra. The ACCC concluded that Telstra TV, Fetch TV, and Foxtel would continue to face competition from other technologies and differentiated services such as smart TV’s and

hardware devices such as Amazon Firestick, Google Chromecast, Apple TV and gaming consoles.

“While Telstra is the largest broadband retailer in Australia, we have carefully examined the facts and circumstances of this acquisition as well as changes in the way consumers access entertainment. We have concluded that this acquisition is unlikely to result in a substantial lessening of competition,” Ms Carver said.

Visit www.accc.gov.au

Artel Video Systems and PAT Announce Partnership for ANZ PROFESSIONAL AUDIO AND TELEVISION is delighted to announce its partnership with US manufacturer, Artel Video Systems.

accurate IEEE 1588-compliant timing and synchronisation. Artel’s Quarra are RAVENNA AES67-approved, Dante- and QSC-tested.

For over 30 years, Artel Video Systems has been a provider of broadcast-quality media transport solutions for direct fibre, IP, and managed optical networks. Artel developed the Quarra product range of IP switches.

Designed for broadcast and enterprise IT applications in which accurate timing and control are required, Artel’s Quarra family of PTP-aware managed IP switches offer

Professional Audio and Television Senior Solutions Architect, Mike Heard commented: “We are excited to add Artel’s Quarra switches to our product portfolio. Quarra can serve as a PTP master or boundary clock, qualifying the best master clock algorithm and making it possible to tweak the timing performance of AES67/ST 2110-30 audio devices with tremendous accuracy. This of course is a

vital requirement for all of our IP projects. I think I speak on behalf of the entire PAT team here in New Zealand and Australia, when I say we are looking forward to a long and fruitful relationship between our companies.”

PAT has already received Quarra demo kit in Australia and if you would like an obligation free demo, please reach out to the friendly PAT team in New Zealand and Australia by emailing sales@proaudiotv.co.nz or sales@proaudiotv. com.au.

Visit http://proaudiotv.co.nz

Magnite Expands Connected TV Business in Australia with Samsung Ads

NEWS + PEOPLE

MAGNITE ONE OF THE WORLD’S largest independent sell side advertising platforms, has announced a collaboration with Samsung Ads, a provider of advanced TV advertising powered by the largest global source of TV data. This will allow marketers to add Samsung CTV inventory to their programmatic media buy, which includes Samsung’s free ad-supported streaming service Samsung TV Plus. Magnite already works with Samsung Ads in the US, EMEA, LATAM, and India.

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Samsung TV Plus, which launched in Australia in November 2020, offers an internet-based TV experience to consumers with instant access to a wide range of exciting and premium content across news, sports, music, movies, entertainment and more. Samsung Smart TV users in Australia can access 69 free live TV

channels, with the channel list growing monthly.

Advertisers in Australia will have programmatic access to Samsung connected TV (CTV) inventory on Samsung’s premium ad-supported video on demand (AVOD) service.

Connected TV is one of the fastest growing mediums in Australia, with 11.9 million Australians having viewed internet content on a TV screen while over 8.6 million Australians do so daily, an 18% increase in viewership year-onyear. With consumption on the rise, online video advertising expenditure has also increased, with programmatic confirmed as the preferred buying method for content publishers’ video inventory according to the most recent IAB Australia Online Advertising Expenditure Report.

James Young, Managing Director of Australia

at Magnite said: “Programmatic CTV supply in Australia continues to grow at a rapid pace and Samsung will deliver a wider audience reach for buyers. We are delighted Samsung has selected Magnite to deliver a best-in-class advertising experience for their Samsung TV Plus product.”

Alexander Spurzem, General Manager for Samsung Ads Australia said: “CTV has generally made TV advertising more accessible, affordable and accountable for advertisers, programmatic takes that one step further making it easier for advertisers to buy. The collaboration with Magnite will unlock programmatic inventory for advertisers on Samsung TV Plus and help fuel growth of CTV in the market.”

Visit www.magnite.com

Netflix to Acquire Animal Logic STREAMING PLATFORM NETFLIX and pioneering visual FX company Animal Logic have announced that Netflix plans to acquire the Australian animation studio.

The acquisition, subject to regulatory approvals and other customary closing conditions, is expected to be completed later this year, and will support Netflix’s ambitious animated film slate, building on films like Academy Award-nominated Over the Moon, Academy Award-nominated Klaus and the recently released The Sea Beast.

Animal Logic has been producing award-winning design, visual effects and animation for over 30 years. Headquartered in Sydney, Animal Logic set up a second studio in Vancouver, Canada in 2015 and has worked on Hollywood blockbusters including Happy Feet, Legend of the Guardians: The Owls of Ga’Hoole, The LEGO Movies and Peter Rabbit 1 & 2, alongside a catalogue of visual effects work including The Matrix, Moulin Rouge!, 300, and The Great Gatsby.

The announcement builds on an already strong partnership between the two companies, with a full slate of films across Animal Logic’s Sydney and Vancouver studios including The Magician’s Elephant, directed by Wendy Rogers, and the recently announced The Shrinking of the Treehorns, directed by Ron Howard, for Netflix.

“Netflix has been investing in

animation over the past few years and this furthers our commitment to building a world-class animation studio,” said Amy Reinhard, Netflix Vice President of Studio Operations. “Animal Logic is a leading animation studio with innovative technology that will strengthen our existing business and increase our long-term capacity in the animation space, so that we can better entertain our members around the world.”

Working with Animal Logic will accelerate the buildout of Netflix’s animation production capabilities.

The Animal Logic and Netflix Animation teams together will create a global creative production team and an animation studio that will produce some of Netflix’s largest animated film titles. Netflix will continue to work with many other studios around the world for animated series and film needs.

Led by CEO and co-founder Zareh Nalbandian, the Animal Logic teams and leadership will remain operating under the Animal Logic brand and will fulfil production of existing and ongoing commitments and continue to collaborate and work with longstanding studio partners.

“After 30 years of producing great work with great people, this is the perfect next chapter for Animal Logic,” said Nalbandian.

“Our values and aspirations could not be more aligned with Netflix, in working with diverse content makers, producing innovative and engaging stories for audiences

around the world. Our collective experience and talent will open new doors for all our teams and will empower a new level of creativity in animation.”

“The strength of our partnership across a number of projects is testament to our shared creative vision,” said Animal Logic’s COO Sharon Taylor. “Solidifying our future together felt like a mutually beneficial, natural progression and I am so excited to continue to build on our success together.”

Animal Logic Entertainment, the producers behind Legend of the Guardians: The Owls of Ga’hoole, Peter Rabbit 1 & 2 and The Shrinking of the Treehorns, will remain independent and continue to collaborate with filmmakers and major studio partners to develop and produce elevated family entertainment with universal appeal.

Netflix’s fast-growing original

slate of animated features and shorts includes Academy Award nominated Robin, Robin, Academy Award-nominated Klaus, Kris Pearn’s The Willoughbys, Academy Award-nominated Over the Moon, Back to the Outback directed by Clare Knight and Harry Cripps, Apollo 10½: A Space Age Childhood from Richard Linklater, and the recently released The Sea Beast; as well as upcoming releases including Henry Selick’s Wendell & Wild, Nora Twomey’s My Father’s Dragon, Guillermo del Toro’s Pinocchio, Wendy Rogers’ The Magician’s Elephant, and an Aardman sequel to Chicken Run. Recent animated film acquisitions

by Netflix include the Academy Award nominated The Mitchells vs.

The Machines, Vivo!, Spongebob: Sponge on the Run (ex North America), and Wish Dragon.

Visit https://animallogic.com/ and www.netflix.com

John Musgrove New Head of Research for Commercial Radio Australia Mr Musgrove will start in the role on the 8th of August and will report directly to the CEO. He will continue to provide some consulting services for SCA.

Announcing the appointment, CRA CEO Ford Ennals said Mr Musgrove would oversee the development and delivery of industry wide radio and audio research and monitoring programs.

Mr Ennals said the commercial radio industry was making a significant investment in updating measurement methodology and delivering new research and insight initiatives.

“Listener research and insights are at the heart of the commercial radio and audio business and it’s a brilliant coup to have attracted someone with John’s stature and experience to the role.

The new role will be responsible for delivering the new GFK Radio 360 measurement program and coordinating key research initiatives with the radio networks such as the new research initiative underway with Amplified Intelligence.

“John is hugely well respected and liked across the radio industry for his breadth of research experience and knowledge and I know that this appointment will be welcomed by the research and sales team of all the radio groups,” Mr Ennals said.

Mr Musgrove said, “I am delighted to be appointed as CRA Head of Research. Audio is in such an exciting place right now in Australia and with all our industry players working together more than ever before it opens great new

opportunities for CRA and the industry as a whole. To create a Head of Research role, and to be the first to fill that role is definitely a privilege and honour. I’m excited for the opportunities this role holds.”

Mr Musgrove has headed up research at SCA for 18 years and before that has had a successful career in research at Nielsen Media and in radio sales and general management at local station groups in Brisbane and Adelaide.

Visit https://commercialradio.com.au

NEWS + PEOPLE

SCA’S HEAD OF INSIGHTS AND RESEARCH, John Musgrove, has been appointed to a new role as Head of Research for industry body Commercial Radio Australia.

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NEWS + PEOPLE

Kathryn Fink Named SBS Director of Television SBS HAS ANNOUNCED that international media executive Kathryn Fink will take up the role of Director of Television.

Australian-born Fink has over 30 years industry experience, having worked in major media markets including Los Angeles, New York and Hong Kong, and in senior roles overseeing content and operations for television and streaming services including at the Walt Disney Company, Sky Italia and News Corp.

Fink was most recently General Manager, Media for the Walt Disney Company in Italy responsible for Disney+, PayTV channels, original content production and content sales up until 2021.

She has also served as Managing Director at the Fox Networks Group in Italy and played a key role in the launch of Sky Italia in 2003.

Remaining with the business for eight years she was for much of that time as Head of Programming, where she was responsible for

commissioning hundreds of hours of content each year and managed all partner channels on the Sky Italia platform as well as Sky’s owned and operated cinema and entertainment channels. Fink oversaw original productions including Romanzo Criminale, Fiorello Show and the launch of Sky Uno which is the platform’s primary entertainment channel.

Her appointment follows the departure of Marshall Heald who, after 14 years with SBS, has taken

on the role of Executive Director of Entertainment with the Foxtel Group.

Visit www.sbs.com.au

Will Munkara-Kerr and Andrew Chow Join Avid AVID HAS ANNOUNCED the appointment of Will Munkara-Kerr as Enterprise Sales Manager – ANZ Munkara-Kerr will lead the Australia and New Zealand Sales team with two decades of experience under his belt, including a deep knowledge of the moving image, broadcast media, distribution, and the post and audio business from both a commercial and technological perspective.

Will has been a part of the creative media tools industry since 2003 working with prominent brand leaders throughout APAC, including EVS, Red Bee Media and most recently as the Regional Manager of the

French Video Compression and Delivery company, Ateme.

But Will’s professional journey of steering broadcast technology all started with Avid, back in the early noughties, first based in Australia and subsequently in Singapore, as part of the Avid APAC Bid Management team.

Avid is also welcoming Andrew Chow to the position of Solutions [L-R] Will Munkara-Kerr and Andrew Chow.

Architect. ‘Chowie’ has been the Avid gotransformational projects, but to technologist at the Nine also has considerable interest Network for over a decade. He in big spectacle pyrotechnics. is an accomplished engineer and problem solver, having led Having represented Australia

in international competitions and big events, Andrew is well adapted to any project.

Visit www.avid.com

NEWS + PEOPLE

People on the Move

8

VETERAN SPORTS PRODUCER MARK LAUGHLIN has taken on the role of Coordinating Producer (Birmingham Commonwealth Games 2022) with NEP Australia.

His previous roles include Programming Producer with Olympic Broadcasting Services, Producer/Director 2014 Nanjing Youth Olympic Games Channel, Director 2014 FIFA World Cup – SBS, Line Producer 2014 Sochi Olympic Winter Games – OBS, Director Tour De France 2013/14 – SBS, Director A-League, Director 2013/14 Australian Open Tennis – 7 Network, and many others.

(Oceania). He comes to Ross following Business Development roles with inTechnology Distribution, and Pacific Live Media. He also served as Sales Manager – Broadcast Solutions with Grass Valley.

-------------------------------------------------

-------------------------------------------------

BEN JONES has taken on the role of Head of Production with Stan Sport. He was previously General Manager (Australia) with AE Live, General Manager, Fox Sports and Main Event, and Executive Producer with the NRL. -------------------------------------------------

TERRY BIRCH has been appointed Solutions Architect – Oceania with Ross Video. He is the founder

SCREEN QUEENSLAND HAS APPOINTED GINA BLACK to the newly created permanent role of

RIC ZATTERA has joined Ross Video as Regional Sales Manager

NADINE HAYNES has started a new position as Supervising Post Producer/Acting Series Producer at Australian Broadcasting Corporation (ABC). She was formerly Senior Producer – Field and Post with the Seven Network working on lifestyle programme Better Homes and Gardens.

of technical consultancy Ginger Dingo where he has worked on a range of broadcast, AV and digital media projects for organisations such as Foxtel, Telstra, ABC, and Nine. Prior to that, he held the position of Digital and Broadcast Systems Manager with the Melbourne Cricket Club.

-------------------------------------------------

Head of Physical Production. Ms Black, who has been with Screen Queensland in various senior roles since 2013, has been seconded to the position for 18 months. The role reports to the Chief Creative Officer, Dr Belinda Burns, and will play a key part in the delivery of high-quality productions in Queensland, including local, interstate and international projects.

------------------------------------------------GABRIEL COSTACHE has joined Warner Bros. Discovery in Auckland as Senior Broadcast Engineer. He previously held the positions of Broadcast Engineer with TAB NZ, and CS Team Leader with Grass Valley.

See us at IBC booth 10.A31

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NEWS + PEOPLE

MediorNet IP solutions are deployed in a variety of production environments around the globe. Whether rack-mounted in the engine room or locally installed in the studio or remote production location, MediorNet IP solutions provide the benefit of an incredible Small Form Factor technology. MediorNet IP brings a high degree of flexibility to productions and a high degree of scalability to production infrastructures.

9

NEWS + PEOPLE

LiveU Acquires Oceania Channel Partner, Pacific Live Media LIVEU HAS ANNOUNCED the acquisition of its longstanding channel partner, Pacific Live Media (PLM) as part of its strategy to get closer to its customers in key markets. Chris Dredge, PLM’s Managing Director, has been representing LiveU and its solutions for many years, supporting leading broadcasters, sports organisations, production companies and online media in Australia, New Zealand and the Pacific Islands.

The announcement follows last year’s successful acquisition of LiveU UK partner Garland Partners Limited as the Company increases its direct presence in specific regions. Over the

last couple of years, LiveU has seen strong growth in the APAC region, especially in Australia, with increasing demand for LiveU cloud-based and hybrid live video solutions for news, sports and other live productions.

Samuel Wasserman, LiveU’s CEO and co-founder, said, “We’re delighted to welcome Chris Dredge and the PLM team into the LiveU family. PLM has excelled in sales, service and support of LiveU’s customers in the region. With his deep technological knowhow and passion for LiveU, Chris has played a central role in growing our business. Our joint customers are some of the most innovative adopters of our cloud-based

remote production workflows worldwide. This move will help us to maximise our business potential and expand our end-toend offerings as live events come back in full after the pandemic, facilitated by the tremendous local service and support.”

Chris Dredge, Managing Director and Founder, PLM, said, “We are truly excited to join LiveU! LiveU’s best-in-class solutions have been the main growth engine for our company and coming together as one entity is the natural next step. LiveU’s technology delivers on so many levels and, as a trusted partner, we have taken great pleasure in developing innovative workflows that deliver increased

Chris Dredge, Managing Director and Founder, PLM.

production efficiency as well as a superb viewing experience. We can’t wait to see what else we can do to help customers with their live events, officially part of LiveU.” Visit www.liveu.tv

Lightware Visual Engineering Opens New APAC HQ SIGNAL MANAGEMENT and AV technologies manufacturer Lightware Visual Engineering has announced the opening of new offices in central Sydney, Australia. The company says the new headquarters demonstrate a long-term commitment to the Asia-Pacific market.

Located in the Newington Technology Park, in Newington Lightware Australia General Manager, Jason Lewis [left], and Technical near Parramatta, and surrounded Director Patrick Kong. by the Sydney Olympic Park and Sydney Harbour, the new APAC ground customer support and will have a positive impact on HQ features a dedicated training product demonstrations for all of our enterprise, live events and centre, showroom, tech lab, a Lightware’s products. Newington esports customers, and members warehouse, and office and meeting Technology Park is a hub for major of our staff in Australia,” said spaces. technology brands in the region, Jason Lewis, General Manager The opening of the new office including Viewsonic, BOSE, Sony, in Australia, Lightware Visual is the next strategic step in Ainsworth, Pelican, CAE and Engineering. expanding the company’s BARCO – and now Lightware Visual global footprint, fostering All Sydney-based Lightware staff Engineering. growth in APAC, and will be a will be working from these new “We are excited to relocate to central hub for customers and headquarters, including technical the new state-of-the-art offices partners across Australia, New support, training, and system sales that will contribute to accelerate Zealand and the Pacific Islands, and design. the growth of Lightware Visual providing sales support, aftersale technical support, on the

Engineering in the region and

Visit https://lightware.com

Riedel Communications Australia Relocates RIEDEL Communications Australia has relocated its office in Sydney.

The new office adds dedicated training and demo facilities, and additional meeting spaces.

The new address is as follows: Riedel Communications Australia Unit 10, 26-34 Dunning Ave Rosebery NSW 2018.

All other contact details remain unchanged, including phone number (02 9669 1199) and PO Box. Email sales-australia@riedel.net

NEWS + PEOPLE

New NZ Minister for Broadcasting and Media

10

KRIS FAAFOI, New Zealand’s Minister for Broadcasting and Media, has announced he is leaving politics. Kris has thanked NZ Prime Minister Jacinda Ardern for the opportunity of serving as a Minister in her government.

“As a Minister I responded to states of emergency, introduced Market Studies, cracked down on loan sharks, managed border settings during COVID-19 and set up public

media to succeed in the future,” he said.

“It is with a heavy heart that I leave, but it is the right time. I look back at the last 12 years with pride and I look forward to the years ahead with new challenges, and most importantly more time with my family.”

Kris Faafoi’s Broadcasting and Media portfolio goes to Willie Jackson.

A former urban Māori chief executive and award-winning radio and television broadcaster, Jackson grew up in Porirua and Mangere, and attended Mangere College in his teenage years.

Jackson previously worked as a trade union organiser, record company executive, broadcaster, sports talkback radio host, and urban Māori advocate.

Jackson has a very long history

working within both Māori and mainstream media in print, radio and television including commentating election coverage in 2005, 2008, 2011 and 2014.

He is the Minister for Māori Development, and Minister of Broadcasting and Media, as well as Associate Minister for ACC (Accident Compensation Corporation).

Visit www.beehive.govt.nz/

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NEWS + PEOPLE

See us at ABE Show August 09-11 2022

11

ABE2022

PREVIEW

Australian Broadcast Exhibition

August 9 –11 Doltone House, Darling Island, Pyrmont, Sydney

ABE2022

MediaHub Australia CEO Alan Sweeney to Deliver ABE Opening Keynote The organisers of ABE2022 – the Content Production & Delivery Show – are pleased to announce that this year’s conference will be opened with a keynote address by MediaHub Australia Chief Executive Officer, Alan Sweeney AS CEO OF OF MEDIA SERVICES company MediaHub for over a decade, Mr Sweeney has been both an observer and influencer of technology and business trends across the industry.

Since its launch in 2010, MediaHub Australia’s technology-driven approach has positioned the company at the forefront of the broadcast services industry.

MediaHub currently provides over 400 broadcast and live streaming services for both television and radio to audiences locally, nationally and internationally.

Among its current service offerings are Media Asset Management, Managed Archive Storage, VOD and Transcoding Services, Audio Description and Closed Caption

Insertion, Connectivity, PassThrough Channel capabilities, 24/7 Master Control and NOC facilities, live Television and Radio Streaming, in-house coding solutions and more for a growing roster of clients.

“Technology for all businesses is more in the hands of the consumer than ever before,” says Alan Sweeney. “We must embrace it or risk losing relevance. To say that that same technology is moving and developing quickly is an understatement. Therefore, the business leaders of today must have insight and be forward thinking and their businesses must be nimble and able to change and adapt more quickly than ever before. It’s trade shows,

August August 9-11, 9-11, Doltone Doltone House House Darling Darling Island, Island, Pyrmont.

Pyrmont.

The 2022 ABE Exhibition, Conference Workshops Aand WORKFLOW PROVEN by are returning to and are returning the likes Workshops of the Star Wars Darling Doltone House, Island,to franchise, LED-based virtual Doltone House, Darling Island, Pyrmont, from production has not only August 9–11.

Pyrmont, fromtheAugust 9–11. provided a path through Hear from industry experts on hot obstacles of the pandemic, Hear from experts on hot but has lifted the constraints topics suchindustry as IP production and oftopics the physical world from such IP production delivery, 4K,toas HDR, HEVC, OTT,and VR, storytellers wanting truly delivery, 4K, HDR, HEVC, OTT, VR, the Academy realise theirbroadcasting vision.

Heretic Foundation, cloud and more. of Interactive cloud and more. Entertainment While manybroadcasting are familiar with See the latest solutions toIntraware empower the key pieces of technology (AIE), and ARRI as they See the latest solutions to needed to provide a complete discuss the state of play of virtual production and delivery ofempower your end to end Virtual Production production and delivery of your production and what needs to content.

Register capability - Media Servers, LEDnow for updates be done to cement its role in the content.

Register now for updates walls, real time camera tracking, & notifications on speakers and workflows of the future.

3D set creation and visualisation, & notifications on speakers and attendees. environment design - the field To register, visit attendees. continues to evolve and there is

Hear experts from Alex Proyas’

REGISTER AT abeshow.com REGISTER AT abeshow.com

“We are honoured to have an industry leader of Mr Sweeney’s calibre open ABE2022,” said Conference Curator Phil Sandberg. “Alan’s experience at the cutting edge of technological change gives him a unique perspective into future directions for the media industry.

We look forward to him sharing his insights.”

MediaHub Australia Chief Executive Officer, Alan Sweeney.

The ABE2022 Conference and Exhibition takes place at Doltone House, Darling Island, Sydney, from August 09-11, 2022. Access to the exhibition floor is free of charge while conference options include three and single day passes.

To register, visit https://www.abeshow.com

2022 ABESHOW Exhibitors include 2022 ABESHOW Exhibitors include

Virtual Production - the Conference State of Play The 2022 ABE Exhibition,

still much work to do in terms of techniques and developing skill sets.

conferences and industry gatherings like ABE which help us all understand and achieve these goals. I am humbled and honoured to be giving the keynote address at this year’s show, a show which promises to be the most significant local event of its kind for many years.”

https://buytickets.at/ broadcastpapersptyltd/490824

For Exhibition and Conference updates, visit www.abeshow.com

Register Today!

4Amber Technology

Amber Technology 4WELL 4Arri AS AS EXHIBITS from 20 of the production 4Arri 4Blonde Robots and broadcast industry’ 4Blonde key technology Robot suppliers, 4Dalet ABE2022 offers attendees 4Dalet the chance to hear from 4Digistor local and overseas experts 4Digistor on IP production, NDI, 4K 4FujiFilm cinematography, audio, 4FujiFilm radio, HDR, HEVC, OTT, remote 4Intraware production, streaming & more.

4Intraware 4Magna Systems For those just wanting to access the Floor, admission is 4Magna Systems &Exhibition Engineering free&while Conference attendees Engineering 4Onair Solutions can choose from three-day and one-day passSolutions options.

4Onair 4Panasonic See the up to date Conference 4Panasonic Programme at https://abeshow.

4Pacific Live Media 4Pacific Live Media 4Professional Audio & Television (PAT) 4Professional Audio & Television (PAT) 4Rohde & Schwarz 4Rohde & Schwarz 4Ross Video 4Ross Video 4Silvertrak 4Silvertrak • Conference+Exhibition 4Sony Australia Day Pass August 9 ($85.00+GST) 4Sony Australia 4Studiotech • Conference+Exhibition Day 4Studiotech Pass August 10 ($85.00+GST) 4Techtel 4Techtel • Conference+Exhibition 4TVU Networks (Half-Day) Pass August 11 4TVU Networks ($70.00+GST) 4VizRT 4VizRT To register, visit

• Exhibition Only - Free

https://buytickets.at/ broadcastpapersptyltd/490824

• Conference+Exhibition 3 Days August 9-11 ($120.00+GST)

For Exhibition and Conference updates, visit www.abeshow.com

com/conference/

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13

ABE 2022 PREVIEW

ABE2022 Daily Schedule August 9-11, Doltone House, Darling Island Road, Pyrmont, Sydney

ABE2022

Conference Hours:

Tuesday-Wednesday 9.00am-5.00pm; Thursday 9.00am-12.00pm

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– TUESDAY 9 AUGUST 08:00 \ Day 1 - Registration

11:10 \ The Contemporary control room - Studiotech Australia 11:35 \ Cinema Direct - Silver Trak Digital

08:50 \ Welcome

12:00 \ Lunch and Exhibition Time

09:00 \ Industry Keynote - Alan Sweeney, CEO, MediaHub Australia

12:30

09:25

13:00 \ Remote & Cloud-based Workflows

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09:50 \ Managing the Facilities of tomorrow Adam Langham, Solutions Architect, LAWO

13:25 \ Adoption of REMI workflows impacting live sports productions LiveU

10:15 \ Coffee Break

13:50 \ Software Defined Networking for Remote Production - Sony

10:45 \ Virtual Production Panel - The State of Play

14:15 \ Broadcast & Media Cloud-deployed solutions and Cloud workflows - Rohde & Schwarz

11:10 \ with Intraware, ARRI

August August 9-11, 9-11, Doltone Doltone House House Darling Darling Island, Island, Pyrmont.

Pyrmont.

11:35 \ High Dynamic Range (HDR) - the Report Card

14:40 \ OB Truck in the Cloud? - TVU Networks

12:00 \ Lunch and Exhibition Time

15:05 \ Coffee Break

12:30

15:30 \ Foxtel Case Study - Studiotech

13:00 \ Panel - Disruption in the News Cycle

16:00 \ Foxtel/TAG monitoring case study

13:25 \ Next Generation News Production in the Cloud. Craig Wilson – Product Evangelist Video and Media, Avid Technology

16:30 \ Hyperconverged solutions - in a single box with various control surfaces - Ross Video

13:50 \ “Unified Newsroom from the cloud

17:00 \ Exhibition Time

Raoul Cospen - Director Bus Dev, Dalet”

17:30 \ Exhibition Time

2022 ABESHOW Exhibitors include 2022 ABESHOW Exhibitors include

14:15 \ The future newsroom and innovation of storytelling in today’s digital world - LiveU

18:00 \ End of Day 2

14:40 \ The New Age of Graphics - Jonathan Watson, The 2022 ABE Exhibition, Conference Snr Account Manager, VizrtExhibition, Conference The 2022 ABE

and Workshops are returning to are returning Doltone House, Darling Island,to 15:30 \ 5G Broadcast vs. DVB-T/T2 - Rohde & Schwarz Doltone House, Darling Island, Pyrmont, from 9–11.

16:00 \ Samoa DVB-T2 Case August Study - Techtel Pyrmont, fromCloud August 9–11.

16:30 \ Case Study: Simple playout with Hear from industrybroadcast experts on hot seamless Live integration - TVU Networks Hear from industry experts on hot topics such as IP production and 17:00 \ Exhibition Time topics such as IP production and delivery, 17:30 \ Exhibition4K, Time HDR, HEVC, OTT, VR, delivery, 4K, HDR, HEVC, OTT, VR, cloud broadcasting and more.

18:00 \ End of Day 1 cloud broadcasting and more.

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– See the latest solutions to empower WEDNESDAY 10 AUGUST See the latest solutions production and deliveryto ofempower your 08:00 \ Day 2 - Registration production and delivery of your content.

Register now for updates 08:50 \ Welcome content.

Register now for updates & notifications onOver speakers and 09:00 \ SMPTE 2110 - the Video IP Report Card - Nine Network & notifications on speakers and 09:25 \ Uncompressed IP video – what the hell is going on? - Techtel attendees. attendees.

09:50 \ The importance of Security in Live IP infrastructure 15:05 \ Coffee Break and Workshops

(Firewalls and SDN) -Magna Systems & Engineering

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 4Amber Technology 4Pacific Live Media

Technology 4Amber THURSDAY 11 AUGUST

4Pacific Live Media 4Professional Audio & Television (PAT) 4Professional Audio 4Blonde 08:50 \ Welcome Robot & Television (PAT) 4Blonde Robot 4Rohde & Schwarz 09:00 \ DAMsmart 4Dalet & Schwarz 09:25 \ Beyond Object storage - Spectra4Rohde Logic 4Dalet 4Ross Video 4Digistor 09:50 \ SNS Storage - James Ng NCRS 4Ross Video 4Digistor 4Silvertrak 10:15 \ Coffee Break 4FujiFilm 4Silvertrak 10:45 \ NDI - the Report Card 4FujiFilm 4Sony Australia 4Intraware 11:10 \ Remote SDI-NDI workflows - Blonde Robot Australia 4Sony 4Intraware 4Studiotech 11:35 \ Merging video production and conferencing 4Magna Systems 4Studiotech over NDI - OnAir Solutions 4Magna Systems & Engineering 4Techtel 12:00 & \ Conclusion of Conference/Exhibition Open Engineering 4Techtel 4Onair Solutions 4TVU Networks 12:30 \ Exhibition Open 4Onair Solutions 4TVU Networks 13:00 \ Exhibition Open 4Panasonic 4VizRT 13:25 \ Exhibition Open 4Panasonic 4VizRT 4Arri

08:00 \ Day 3 - Registration 4Arri

13:50 \ Conclusion of Show

10:15 \ Coffee Break

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

10:45 \ Community Radio Plus - Andrew Morris -Manager, Online Products, CBAA

Register at https://buytickets.at/broadcastpapersptyltd/490824

PROGRAMME SUBJECT TO CHANGE

MEDIA PARTNER

ABESHOW

MEDIA PARTNER

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IP PROBING AND MONITORING

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CONTRIBUTION AND DISTRIBUTION CLOUD NATIVE PLAYOUT SOLUTION

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Whether it’s for studio, control room, playout, editing or transport, there’s a Magna solution that works for you.

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empowering innovation REGISTER AT abeshow.com Sydney | Auckland | Hong Kong | Jakarta | Singapore

ABESHOW

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ABE 2022 PREVIEW

––––––––––––––––––––––––––– AMBER TECHNOLOGY Booth 16 Unit 1, 2 Daydream Street Warriewood NSW 2102 Tel: +61 2 9998 7600 Email: broadcast@ambertech.com.au www.ambertech.com.au Placing an emphasis on remote production workflows, Amber Technology will feature an integrated range of key vendors across its diverse product portfolio.

Avid - MediaCentral is at the heart of Avid’s news and production solutions. The Avid MediaCentral platform delivers an end-to-end solution from ingest through to asset management, content creation, collaboration, playout, and distribution.

Featured on the Amber stand will be the MediaCentral | Collaborate app connecting teams in the studio, in the field, and at home together using any device.

From story planning, gathering resources, and delegating assignments, to tracking tasks, topics, and ideas, MediaCentral | Collaborate, available as an iOS, iPadOS, and web browser app for MediaCentral, enables team members to work together seamlessly from anywhere.

Haivision /AviWest - The combination of Haivision and Aviwest video technology for live broadcast contribution over fixed and mobile networks will be on full display, empowering broadcast customers to change the game for live sporting event production, news coverage, and live entertainment.

The solutions being showcased at ABE will include:

ABESHOW

• PRO460 – the next evolution of the PRO series bonded cellular transmitters for remote video production over 5G networks.

• Makito X4 Series of video encoders and decoders – Haivision’s flagship real-time quad-HD and 4K video encoding and SRT streaming solutions, providing secure and reliable streaming over IP. • StreamHub – a powerful and flexible platform to receive, decode, and distribute live video streams, coming from Aviwest transmitters, Makito X4 video encoders, or third-party systems.

• LiveGuest – the easiest way to conduct a live interview with remote guests, supporting bidirectional video return and

16

automated echo cancellation for the best possible user experience and production quality.

EVS - The EVS LiveCeption and MediaCeption solution pillars enable the creation of compelling live replays and highlights, generate swift content turnaround, and output the highest-quality programming for live sports, news, and entertainment. The EVS LSMVIA controller and client will allow visitors to experience firsthand the advanced feature set of EVS’ new replay system in a remotely connected workflow Further enhancing the remote LSM-VIA workflow is the recently announced XtraMotion – the super slow-motion service. Live demonstrations will illustrate how the XtraMotion process can be easily triggered from the LSMVIA remote, transforming any type of footage into high-quality super slow-motion replays using cloud processing and frame interpolation.

Blue Lucy - The Blue Lucy Automation for Media (BLAM) platform is designed to meet the complex content production and delivery requirements for the multiplatform age. BLAM combines media management, workflow orchestration, user task management and advanced video processing in a single solution.

Amber will be demonstrating a range of media workflows including Avid content archiving, record scheduling and live ingest, cloud-based content versioning, transcription, AI and Adobe Premiere integration.

Peplink - Reliable high bandwidth IP links are an increasingly fundamental requirement for contemporary productions. Peplink makes this type of connectivity reliable and available by seamlessly combining multiple carriers such as 4G, 5G and Satellite into a single bearer. Hitless switching ensures that sessions are never dropped as carrier availability changes.

Peplink’s ecosystem, SpeedFusion technology and SD-WAN routers have been deployed extensively around the world and in Australia and will be enabling Amber’s ABE 2022 backhaul requirements for our remote production demonstrations.

Telestream - Attendees will also see the first release of Telestream Stanza which provides a low-cost entry point for organisations requiring high-end captioning capabilities by offering a

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subscription-based payment model. In addition, to help address the challenges of remote working, the client-server deployment model of Stanza allows captioning editors to work from any location from a simple browser-based editing console, regardless of where media files are stored.

Stanza utilises the powerful Telestream GLIM engine built in to play back original high-res files instantly without any need to create proxies or transfer huge media files prior to getting to work Telestream GLIM is designed for media professionals and allows viewing hi-res media remotely in a web-browser, without generating a proxy file.

Amber Technology will also be demonstrating the Telestream Cloud suite of services that provides a valuable set of tools for post-production, VOD, and QC workflows, where users pay only for what they need, and with access to nearly unlimited scale.

ATEME is the global leader in Video Distribution Infrastructure, enabling the world’s largest Content and Service Providers to implement innovative live and on demand video solutions, and enhance their customers’ quality of experience. ATEME is driving Video Delivery innovations with video compression for any resolution, any codec, improved viewing experience and reduced transmission/delivery costs.

ATEME provides pure softwarebased compression applications running on standard servers or Public Cloud.

Ateme has over the last five years put significant resources into growing the Australian presence.

This includes setting up a dedicated office covering sales, technical assistance, and a support organisation. We have sold more than 1500 linear encoder channels within Australia for various use cases such as Contribution, Terrestrial, DTH and OTT. Autoscript’s Voice uses revolutionary advanced speech recognition technology to free presenters and production staff from their scroll control devices.

Using Voice for WinPlus-IP, presenters are empowered with reliable and accurate real-time control of their prompted script simply by speaking the words. It’s the most effortless way to control a prompter ever.

The Autoscript WinPlus-IP Prompter is a simple and modern refresh of the industry standard

prompting application. The default user interface is ideally suited for operation in dark production environments, with colours and content location able to be customised to the operator’s taste.

Vinten’s Osprey Elite is extremely versatile, designed to support the latest range of digital, portable, and full facility cameras for both studio and OB productions. The two-stage column offers on-shot movement from a minimum height of 66 cm/ 26 “ to a maximum height of 143 cm/ 56 “ and features full crab and steer facilities controlled from a central steering ring.

––––––––––––––––––––––––––– ARRI AUSTRALIA PTY LTD Booth 10 Suite 2, Building B 12 Julius Avenue North Ryde NSW 2113, Australia Tel: +61 2 9855 4308 www.arri.com Visitors to the ARRI stand at this year’s ABE show will be treated to live appearances by the AMIRA Live Cinematic Super 35 and ALEXA 35 Super 35 cameras, as well as remote sports technology and lighting products.

According to Josh Harvey, Country Manager with ARRI Australia, “ARRI has joined ABE as a way to better connect with the broadcast industry. Our presence within the cinematography industry is well known but within broadcast our exposure has been limited. That being said, we do have some great product offerings for broadcast and joining the ABE2022 was the perfect way for us to showcase these products.

“I’m excited to share that we will be covering all of ARRI’s Business Units for the show. The first will be showing our Camera Technology and dynamic range capabilities with the AMIRA Live Cinematic Super 35 cameras which combines our popular Cinema camera while introducing our own Fibre technology for multi-camera broadcasts. Also on the stand will be our newly announced ALEXA 35 Super 35 camera which has raised the bar even higher in the world of digital cinematography. This will be joined with the SRH-360 remote stabilised head and AGITO Sport remote camera dolly. Lastly, our stand will be made up of our Lighting technology featuring the Skypanel and Orbiter offerings with the new Orbiter Fresnel, making its first appearance in Australia.”

Visit www.arri.com/

ABE 2022 PREVIEW

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ross.video/anz

ABESHOW

POWERING YOUR FAN ENGAGEMENT

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ABE 2022 PREVIEW

–––––––––––––––––––––––––– BLONDE ROBOT Booth 13 14 Railway Place East Preston VIC 3072 Tel: +61 3 9023 9777 Email: sales@blonde-robot.com.au www.blonde-robot.com.au Blonde Robot is an importer and distributor of leading products for the consumer camera and professional content creation markets in over 15 countries throughout Oceania and South East Asia.

Brands include AJA, ANGELBIRD, Anton Bauer, ARTISAN&ARTIST, ATOMOS, B+W Filter, BIRDDOG, BlueFish444, CatDV, Cineroid, Cactus, FACILIS Technology, IDX, Litepanels, Lucky Camera Straps, Metabones, MindShift Gear, MAGMA, NewTek, oconnor, PROMISE Technology, peak design, Schneider Kreuznach, storageDNA, sachtler, Syrp, think tank, TERADEK, TAMRON, and Velbon.

––––––––––––––––––––––––––– DALET Booth 19 161 Castlereagh St Sydney NSW 2000 Tel: +65 6339 3376 www.dalet.com Dalet is a media solutions and service provider that places technological innovation and human collaboration at the heart of everything we do, creating powerful tools and products that help you tell better stories.

With over three decades of innovation, our software solutions enable greater control, enhanced visibility and increased productivity for content professionals and storytellers around the globe.

––––––––––––––––––––––––––– DIGISTOR Booth 6 5-7 Cleg Street Artarmon NSW 2064 Tel: +61 2 9431 6000 www.digistor.com.au On Booth Number 6 at ABE2022, Digistor will be presenting solutions for: Video over IP / NDI; Live and remote production; Cloud workflows; Collaborative storage, backup, archive; Asset management; Editing and postproduction systems; and Expert technical services and consulting.

ABESHOW

We’ve partnered with leading vendors at ABE to give attendees the opportunity to meet with local and overseas special guests to discuss and demonstrate product,

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solutions and new developments.

Avid is reimagining the entire media value chain with powerful platforms for creating, managing, storing, distributing and monetising film, television and music. By integrating Avid’s collaboration, automation, endto-end integration and workflow orchestration, Digistor is providing solutions to broadcast, artists, creative professionals, production teams and media enterprises.

Dejero delivers real-time video and networking solutions that provide resilient, uninterrupted internet connectivity for critical communications. Powered by intelligent network aggregation technology, Dejero combines diverse telecommunication networks including 4G/5G cellular, GEO/MEO/LEO satellite, and fixed broadband, to create a softwaredefined ‘network of networks’ managed in the cloud.

Dejero will be showcasing its EnGo 265 mobile transmitter and internet gateway. It can be used to transmit broadcast-quality live video, transfer large files, and set up high-bandwidth access points for multiple devices. EnGo 265 also boasts enhanced security features, low latency, IFB, and Intercom. The Dejero team at the booth will also talk about its latest innovations, including the next-gen EnGo 3x transmitter with 5G modems, advanced antenna design, 4K transmission, and multi-camera support.

Special guests from Dejero will include Steven S. Santillan, Regional Sales Manager, APAC & ANZ, and Hasnizar Bin Mazlan, Technical Account Manager .

EditShare is an Emmy award winning technology leader that enables collaborative media workflows on-premise, in the cloud, or in a hybrid configuration.

Its open software solutions and robust APIs improve workflow collaboration and third-party integrations across the entire production chain. The highperformance software lineup includes media optimised shared storage management, archiving and backup, and media management, all supported with open APIs for extensible integration.

At ABE EditShare will highlight many of its new enhancements for production and post production including: FLEX – a simple, and cost-effective route for edit in the cloud, remote collaborative working and secure cloud

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archiving. Enhanced project synchronisation with NLEs, including Media Composer, Adobe Premiere Pro and DaVinci Resolve, where complex projects can be readily moved between EditShare media management and the NLE environment. FLOW can now ingest NDI contribution feeds and immediately present them for editing; making the workflows as slick as possible. EFS Multi-Site – allows users with multiple locations to synchronise project storage between EFS clusters in different facilities, giving users ready access to content, wherever they choose to work. EditShare will also be available to discuss the new EFS 60NL, aimed at nearline storage and providing 60 drive bays in 4U of rack space.

Special guests from EditShare will include Paul Hayes, Regional Sales Manager, and Chris Anderson, PreSales Engineer.

Kiloview is a professional solution provider of IP-Based video transmission, with products across the range of video encoding, decoding, conversion, IP-based video switching and streaming, including SDI/HDMI (HD or 4K UHD) to IP via H.264/H.265/ NDI by Ethernet, wifi or 4G-LTE bonding/5G-LTE, etc. Kiloview also provides hardware and software solutions which can handle different inputs and outputs, either baseband interfaces or IP streams with different protocols, in the format of standalone units, or rackmount units, together with functions such as PTZ control, OSD, cropping, recording, streaming services, making Kiloview the most versatile AV-over-IP solution provider in the world.

Kiloview will feature their hardware video encoders & decoders, NDI converters, software solutions like NDI CORE, Kilolink 4G bonding server, NDI recorder, KIS system, central management software Kilolink server for free and the total solution shown on their roadmap.

Products/Applications include: Hardware video encoders & decoders; NDI converters; NDI CORE; NDI recorder; Kilolink 4G bonding server; KIS (Kiloview Intercom Server) system; Central management software Kilolink server; P Series; and N60.

Qumlo is a leader in simplifying data management in its native file form at a massive scale across hybrid-cloud environments.

Its high-performance file data platform is designed to store, manage and create workflows and applications with data in its native

file form at massive scale on prem and in the public cloud. Qumulo manages the full data lifecycle from ingestion, transformation, publishing and archiving with cost-effective capacity, dynamic scalability, automatic encryption, real-time visibility and an advanced API that enables customers to easily integrate Qumulo into their ecosystem and workflows.

Special Guests from Qumulo include Dave Illman, Qumulo Regional Territory Manager, AU/NZ, and Antony “Ant” Wright, Qumulo Senior Systems Engineer, AU/NZ. Symply started out with a basic philosophy: design and build the best workflow-enhancement and storage solutions for the media and entertainment industry, Apple, and SMB users regardless of company size.

At ABE, Symply will showcase their range of storage solutions, ideal for the media and entertainment market – disk, tape, and cloud.

Symply offers solutions for editing, backup and archive with features specifically designed for production environments such as whisper quiet operation, dimmable lights, unbeatable throughput, camera media transfer and more.

Products/Applications include: Symply SPARK range of desktop RAIDs; Integrated family of LTO backup and archive products, including SymplyDIT LTO – a unique full-featured archive and transfer system designed specifically for on-set and DIT use with features that can enhance every production and post production pipeline SymplyNEBULA cloud ecosystem.

StorageDNA provides a single, overarching platform with multiple services that comprehensively addresses growing and complex unstructured data management (UDM) tasks. Their platform has been helping film, video and broadcast professionals work more efficiently and save costs.

Advanced technologies and a commitment to innovation are the backbone of their company.

Products/Applications include: DNAfabric Platform; Cloud optimised, unstructured data management services platform; DNAfabric Cloud Modeler; Cloud storage cost modelling platform with access to hundreds of tiers and providers; DNAevolution Platform; and Open LTFS data archiving platform with open metadata support.

Visit https://bit.ly/3cA4Naj

ABE 2022 PREVIEW

––––––––––––––––––––––––––– FUJIFILM AUSTRALIA Booth 18 Level 2, 54 Waterloo Road Macquarie Park NSW 2113 Tel: +61 2 9466 2600 Email: simon.murphy@fujifilm.com www.fujifilm.com.au FUJIFILM Australia is one of the new exhibitors at ABE2022 and will have their flagship Fujinon Premista cine lens range series, with the 19-45mm, 28-100mm and the 80250mm on display. These globally recognised cine lenses have been very popular with the cine world because of their light weight and smaller form. As commonly stated, it’s like having a range of primes in your kit.

A great new accessory for the Premista range is the Chrosziel Full Servo Drive. Fujinon will also have one of these on display.

Other cine style lenses at the Fujinon stand will be the Cabrio XK6x20 and the popular MK series lenses with various adpators.

Another exciting product that has hit the global market is the Black Masgic Design URSA G2 camera, and we will have one of these with Fujinon’s ever popular XA20sx8.5BERM-K3, the choice of lens for many URSA G2 buyers.

Finally, we will have a select range of UA 4K Plus Premier Series lenses on other camera manufacturer’s stands around the show floor.

Visit https://www.fujifilm.com.au/

––––––––––––––––––––––––––– INTRAWARE Booth 20 Level 4, 97 Pacific Highway North Sydney NSW 2060 Email: sales@intraware.com.au Tel: +61 2 9439 0244 www.intraware.com.au Founded in 1995 Intraware Australia is a leading supplier of the world’s best technology solutions to the new media and post production markets. Intraware Australia is uniquely positioned to integrate and manage different technologies to suit the demanding environment in the digital media market and to supply and support its reseller channel to succeed in their respective markets.

Hardware solutions include: • Bluefish Video Cards & Converters • JL Cooper Control And Interface Devices • Virtual Production - LED Panels, Brompton Processors, Disguise VX and GX • Camera Tracking - Star Tracker • Video Storage Servers - ProMAX • Sonnet SSD And NVme Storage PCIe • Ethernet Adapters • Thunderbolt Expansion Modules And Enclosures • Mac Mounting Solutions • Pro Media Card Readers • Cables And Accessories Software solutions include:

• Archive/Backup - Tina, Miria, Lina, Project Parking, Archive Manager, Tape Libraries, Blackpearl • VFX - Nuke, Katana, Mari • Media Asset Management eMAM, Strawberry • Video Streaming - Net X Code • Test And Measurement Network Video Analyser, SD/ HD/4k Scope • Project Management - FastTrack Schedule • Virtual Productions - VP Pro, InfinitySet Intraware the distributors for eMAM in APAC a leading Media Asset Management System recently took part in the installation of a fully integrated playout and media asset management system for Thai TV5 at the network’s studio headquarters in Bangkok in partnership with eMAM and PlayBox Neo. The project encompassed the replacement of legacy third-party equipment with a solution designed to combine high operational efficiency, reliability and scalability.

Intraware’s Wayne Morphew will join experts from Alex Proyas’ Heretic Foundation, the Academy of Interactive Entertainment (AIE), and ARRI as they discuss the state of play of virtual production and what needs to be done to cement its role in the workflows of the future. Session time: 10.45am Tuesday August 9.

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LIVEU Booth 1 Unit 114 / 7 Hoyle Ave, Castle Hill NSW 2154 p: +61 2 8458 0701 m: +61 403 071 352 e: chris@pacificlivemedia.com www.liveu.com LiveU is shaping the future of live video, powering video production workflows and cloud services for news, sports, and other verticals.

Building on our global market leadership and innovation, LiveU offers the highest quality, reliable and cost-effective end-to-end solutions for all types of live productions – producing more for less.

Our broad portfolio ranges from our portable production-level field units and smartphone apps to satellite/cellular hybrid solutions and next-gen cloud-based IP management, distribution, and broadcast orchestration cloud solutions. With over 5000 customers in 150 countries, LiveU’s technology is the solution of choice for global broadcasters, sports and other organisations (including government, education, public safety, enterprise, and production houses), streaming live video to TV, mobile, online, and social media.

LiveU’s all-inclusive service packages – created and tailored for you, meeting the global need for live broadcasts in a unique one-stopshop. This includes its newest live video subscription service, LiveU 360°.

Bringing media to the people.

From content creation to transmission.

Studio production Post production Delivery Distribution

Make ideas real

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ABESHOW

Visit us at ABEShow2022 to find out more about our solutions.

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ABE 2022 PREVIEW

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MAGNA SYSTEMS & ENGINEERING Booth 14 Unit 2, 28 Smith Street Chatswood NSW 2067 Tel: +61 2 9417 1111 Email: sales@magnasys.tv www.magnasys.tv

from Telestream with their Content Management solutions.

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Finally, and not exactly sure how we’re going to fit it in, the awardwinning cloud based production system from CHYRON.

Booth 4

PANASONIC AUSTRALIA

Level 1, 1 Innovation Rd Macquarie NSW 2113 Contact: Mr Rob Myers Tel: +61 3 9565 6705 Email: broadcastsales@panasonic.com.au www.panasonic.com/au

ABE2022

Magna Systems & Engineering was founded in 1968 by a small group of people with solid backgrounds from the broadcast Industry.

With its history set very firmly in the early days of television broadcasting in Australia the company has evolved a culture based on quality, experience and trust – all of which are as true today as they were in the beginning.

Magna Systems has successfully worked with leading broadcasters and telecommunications corporations building complete networks, playout centres and key turnkey solutions. Much has changed in these industries and Magna’s ability to preempt these changes as well as change with them, has meant Magna Systems has remained a successful independent distributor, consultant and systems integrator in these industries.

Don’t miss out, book a demo today.

Contact: ABEdemo@magnasys.tv –––––––––––––––––––––––––––

ONAIR SOLUTIONS

Panasonic Australia is a market leader in the field of consumer electronics, and B2B solutions.

The reliability and reputation of Panasonic products has ensured that they are part of the everyday lives of many.

Booth 11

Tel: +61 2 8882 7766 Email: sales@onair.com.au www.onair.com.au

[on-air] [on-line] [on-demand]

OnAir Solutions has the tools for capturing, broadcasting and streaming your content.

OnAir Solutions is a distributor to the Australian broadcast and live-to-web market. The company provides superior representation to a select group of high quality manufacturers by focusing on the following customer needs, technical knowledge of the products represented, and advanced product support.

August August 9-11, 9-11, Doltone Doltone House House Darling Darling Island, Island, Pyrmont.

Pyrmont.

More recently the company has opened the OnAir Solutions webstore. There customers can purchase a large range of standalone products from across all OnAir’s represented manufacturers.

For over 100 years, Panasonic has been focused on product innovation and improving people’s lives. As we move forward in the dynamic 21st century, the global aim of Panasonic is to keep building on its strong relationships with its partners and continue to strive for a better life and a better world for its customers. For Panasonic Australia, this philosophy means delivering a diverse range of solutions to homes and businesses.

Professional Audio & Television at ABE2022 – Tomorrow’s Technology Today Jul 21, 2022 | News Professional Audio & Television Pty Ltd (PAT) is proud to showcase products from Angry Audio, Arista, Artel, Boland, Broadcast’in, CyanView, Densitron, Dream Chip, ENCO, Genelec, LAWO, Meinberg, Mobile Viewpoint, RTW, StudioHub, TSL Products and Vortex Communications.

On booth #2 delegates will have the REGISTER AT abeshow.com opportunity to see LAWO’s mc²36 REGISTER AT abeshow.com All-In-One Production Console,

Today, Panasonic’s industryleading products offer innovative technologies to enhance the lifestyles of Australians and support them in the challenges they face at home and beyond

Not to disappoint, Magna will again be providing handson demonstrations of key Products on show at ABE2022 The 2022 ABE Conference include: technologies for the MediaExhibition, and Entertainment industry.

The 2022 ABE Exhibition, Conference Wasp3D graphics and virtual set

our manufacturers. Our customers benefit from our extensive knowledge when it comes to system design, gained from years of experience in supplying cutting edge, future-proofed technology to the ‘who’s who’ of the leading broadcasters in Australia and New Zealand.

the newly released multi-purpose LAWO diamond console, VSM and the V__Matrix. A LAWO product POD will provide remote access to the entire LAWO product range hosted in Germany. Also on show will be ARISTA and Artel Quarra switch fabric, TSL SDI/ IP AV Monitors, MobileViewpoint encoders and decoders, ENCO encaption and ClipFire, RTW TM7 Ravenna audio monitor, Densitron UReady hardware and IDS control software will also be available for hands-on demos.

2022 ABESHOW Exhibitors include 2022 ABESHOW Exhibitors include –––––––––––––––––––––––––––

and Workshops are returning to

system There willWorkshops be a live demonstration and are returning Doltone House, Darling Island,to of Magna’s Best-of-Breed IP • multiCAM Systems for Doltone House, Darling Island, Infrastructure solution including Pyrmont, from August 9–11. automated visual radio and EVS Cerebrum, Cerebrum Pyrmont, fromIP-Core August 9–11. education SDN and TAG’ s award-winning IP experts on hot Hear from industry • Logitek mixIT, a small form Monitoring solution. industry Hear experts on hot factor console and AES67/Dante topicsfrom suchThe asRTS IPODIN production and Digital IP Comms system will also audio mixer topics such as IP production and delivery, 4K, HDR, HEVC, OTT, VR, be on display.

• Meinberg delivery, 4K, HDR, HEVC, OTT, microSync VR, Broadcast We’ll have a live demonstration cloud broadcasting andgrandmasters more. for PTP, Video, ofcloud VideoFlowbroadcasting showing that video andAudio more. & clock can be delivered across any See the latest solutions to empower • Jellyfish shared storage unmanaged network, including the See the latest solutions to production and deliveryoptimised ofempower your for on-prem and public internet with ZERO packet remote production production and delivery your content. now forofupdates loss and ultra-lowRegister latency.

•for Media management solutions content. updates Experts will be onRegister hand to discuss & notifications onnow speakers and from SI Media and Axle Ai IP& ST2110 resilience and the latest notifications on speakers and attendees.

• NDI networked cameras in Contribution and Distribution attendees. technologies from Enensys, Paul Dengate from OnAir Solutions Mediakind and Appear. Have a and Cedric Robertson from chat to us about ACTUS Media Labspace will be on hand for live Intelligence Platform (Compliance demos, along with the rest of the and Monitoring) as well as the latest OnAir crew.

4Amber Technology 4Pacific Media The expert PATLive and LAWO team will 4Pacific Media of course be onLive the booth to assist 4Professional and answer any queriesAudio that may 4Arri & Television (PAT) Booth 2 4Professional Audio arise.

4Blonde Robot &1 will Television Unit 16, 8 LeightonRobot Place Day feature Adam(PAT) Langham, 4Blonde 4Rohde & Schwarz LAWO Solutions Architect, Hornsby NSW 2077 4Dalet 4Rohde & Schwarz presenting at ABE2022 Tel:4Dalet +61 2 9476 1272 4Ross Video conference on the topic “Managing the 4Digistor Email: sales@proaudiotv.com.au 4Ross Facilities ofVideo tomorrow”.

4Digistor www.proaudiotv.com.au 4Silvertrak 4FujiFilm Ken Frommert, President, ENCO. At Professional Audio & Television 4Silvertrak 4Sony Australia we4FujiFilm pride ourselves on bringing On Day 2 and Day 3, we welcome 4Intraware international guest ENCO Systems 4Sony Australia quality video, audio, networking 4Intraware 4Studiotech President, Ken Frommert to the and4Magna control solutions from world Systems 4Studiotech PAT booth. Ken will be available class manufacturers to Australia 4Magna Systems & Engineering 4Techtel to discuss ENCO solutions for all and New Zealand. & Engineering 4Techtel your automatic captioning, radio We4Onair design, configure, commission Solutions 4TVU Networks automation and playout needs. and4Onair train our customers on the Solutions 4TVU Networks If you are interested in booking an 4Panasonic products and systems we supply.

4VizRT appointment, please email sally@ Backed by our pre and post-sales 4Panasonic 4VizRT proaudiotv.com.au PROFESSIONAL AUDIO & 4Amber Technology 4Arri TELEVISION

service and support, PAT is known for outstanding customer service for the products we represent.

PAT’s engineering, service and support staff are factory trained by

We look forward to reconnecting face-to face and seeing you at the show.

MEDIA PARTNER

ABESHOW

MEDIA PARTNER

1 10:20 AM

1 10:20 AM

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PMS 356

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PMS 356

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ABE 2022 PREVIEW

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Booth 8

Booth 15

Rohde & Schwarz Unit 2, 75 Epping Road North Ryde NSW 2113 Contact: Nils Ahrens Tel: +61 2 8874 5100 Email: sales.australia@rohdeschwarz.com www.rohde-schwarz.com.au

15-21 Doody Street A lexandria NSW 2015 Contact: Ric Zattera Email: rzattera@rossvideo.com www.rossvideo.com

ROHDE & SCHWARZ

Established in Australia 40 years ago, the local subsidiary of Rohde & Schwarz continues to provide the latest innovative equipment and expertise to customers in the fields of wireless communications and RF test and measurement, broadcast and media, aerospace and defence, cybersecurity and network technology. At ABE2022, Rohde & Schwarz will be highlighting media storage ingest, playout for studio applications,multiviewer, and monitoringsolutions for linear broadcast and OTT -on prem and in cloud.R&S will also be featuring transmitters simulating 5G broadcast.Also on the stand will be Pixel Power graphics, automation and playout, also in a cloud environment. Mike O’Connell, Executive VP with Pixel Power will be on hand to answer any enquiries.

ROSS VIDEO

Ross Video will be presenting and demonstrating a wide range of products across their main technology pillars of Acquisition, Production, Infrastructure, Management Systems and Cloud Solutions.

ABE attendees will be able to experience Ross’ “Hyperconverged” solutions. These sit within a new breed of modern connectivity platform providing much more than just routing. The new, integrated platform can also include major features including audio and video processing, multiviewers, IP processing, production switching and more. A good example of this on the Ross stand at ABE will be the Ultrix FR5 frame which will be connected to various control surfaces such as a TDS2 video production panel as well as a customisable Ultritouch panel.

Alongside this will be Mira+, the solution which enables instant

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replays for live events and sports broadcasts with a flexible and powerful multi-channel replay system.

Finally, in studio and sports graphics, Ross will be demonstrating Xpression, their realtime, flexible and easy to use 3D Motion Graphics system, along with the Tessera Graphics Solution developed for large and dynamic stadium screens and studio wall configurations. There will also be a dashboard demonstrating a whole of venue and event control system.

As mentioned, all of these come together under Ross’ highly acclaimed “hyper-converged” solutions banner.

In short, while there has been some interest in cloud-based production, there’s still significant demand for flexible, on-prem and distributed architecture and itis this demand that Ross’ Hyperconverged solutions address with products and systems that enable more efficient and flexible workflows.

live venues who are looking for better ways to get spectator engagement and attendance.

There’s also the graphics space where big LED screens are used as backgrounds in studio environments and require complex yet flexible, easy to control and easy to configure solutions to drive content into them.

As well as Ross Video’s Director of Product Management -Hyperconverged Solutions, Todd Riggs, giving a paper at the conference, Ross will have its seniorteam of A/NZ sales, product, support and service professionals at the show led by well-known and respected industry veteran, Ric Zattera.

For more information and to book a demo at ABE 2022 contact Ric Zattera at rzattera@rossvideo. com

Some of the areas that Hyperconverged solutions are ideal for include Live Production which is the most in-demand typeof content for television broadcasters. Then, sports and

ABESHOW

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www.liveu.tv

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ABE 2022 PREVIEW

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SILVER TRAK DIGITAL Booth 12

10 Addison Road Marrickville NSW 2204 Tel: +61 2 9007 5600 Email: sales@silvertrak.com.au www.silvertrak.com.au Media Room

superior file search by package or asset. Allows changes to file names after ingest. Multi-level tagging and organisation into projects with virtual file duplication across projects.

Artwork and Screeners Media Room allows producers, sales teams or content promoters to create meaningful screener campaigns using fully customisable branding and artwork with creative banner and poster artwork to individual delivery or mail-merge distribution lists.

DAMsmart Time is running out. The lack of videotape and audiotape playback equipment means that accessing content in your physical collections will be lost in the next 5 to 8 years.

By acting now to digitise, you can make sure that your organisation’s commercial and cultural assets are safe.

ABE2022

Media Room is today one of the most accepted media management SaaS platforms in Australia and is making inroads into New Zealand and South East Asia.

Media Room 3, has been completely re-engineered utilising the most innovative and current technology to provide even more features, more speed and more security.

Built entirely with producers and media managers’ professional and monetary needs in mind, the application offers a multitude of content management features alongside high-end marketing and promotional elements.

Viewing capabilities have been enhanced with full audio capability up to 5.1 surround sound secured by studio grade DRM. Included enhancement for Chromecast and Airplay playback adds extra dimension to viewing and playback up to 4K. Visit www. mediaroom.com.au Cinema direct Cinema Direct is a new, exciting initiative brought to a cinema near you by Silver Trak Digital and Telstra Broadcast Services.

Cinema Direct is diverse cinema delivery anywhere, anytime over the Telstra 4G/5G network.

Retaining original high profile security features such as password validations, HLS file encryption and watermarking, Media Room now incorporates two factor authentication, default studio grade DRM, dynamic watermarking Cinema Direct’s 4G/5G delivery and direct initiator control of file service will deliver not just DCPs transfer and viewing; making it securely and cost efficiently but one of the most secure asset also allow cinemas to stream HD management platforms available. content in 4G service areas and Add to this enhanced upload and full 4K streaming with full surround file transfer capabilities with sound in 5G service areas. Cinema Aspera on Cloud providing up to Direct requires no cabling, can be 3Gb/s speed, unlimited tagging installed and working very quickly capabilities and asset virtualisation and is backed by Telstra’s entire across file Themultiple 2022projects ABEmakes Exhibition, Conference network infrastructure and support upload quick, easy and ultimately teams. and Workshops to searchable.

Storage capabilityare returning takes advantage of an ever Silver Trak are Doltone House, Darling Island, experts in and take expanding AWS S3 facility, itself care of the media management, Pyrmont, from AugustTelstra 9–11.provides the managed providing a 99.99999 reliability. master control, scheduling and What’s New Hear from industry experts on hot assurance.

First line support is Credentials – Media Room then provided by topics such as IPhas production andTelstra Broadcast development and application Services Master Control Facilities been tested and approved via delivery, 4K, HDR, HEVC, OTT,line VR, and second support by Telstra the AWS Foundational Technical Network Operations.

Any content cloud broadcasting and more.

Review (FTR) process to be fully delivered by Cinema Direct is compliant. contained within a secure network, See Security the latest to empower Content providessolutions two separate from any other traffic and factor authentication, default production and delivery your onlyof available to Silver Trak Digital’s studio grade DRM, dynamic per clients. content.

Register recipient watermarking, admin now for updates Over time,and the Cinema Direct controlled user permissionson and speakers & notifications ecosystem will develop such that screener viewing limitations attendees. it will create and enable additional with project managed viewing revenue streams for cinemas such cancellations giving full control of as live sporting events, concerts screeners, even after delivery. and other exclusive content.

Media Management accepts and

August 9-11, Doltone House Darling Island, Pyrmont.

ABESHOW

stores any file type as an asset with

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Visit https://cinemadirect.com.au

REGISTER AT abeshow.com

DAMsmart is Australia’s leading audiovisual digitisation service provider. We deliver to you a dedicated and crafted service to digitise and save your videotape, audio or film archive.

We are not a duplication, media storage or post-production facility that does a bit of digitisation on the side. Digitising collections of moving image and recorded sound for long-term preservation and access is all we do, every day. We are experts, and no other service provider in our region can demonstrate the same level of expertise or project success.

collections. We contribute to a range of industry bodies and international archiving forums.

Film digitisation – Digitise your film archive and immediately transform it into an asset with new possibilities. Protect and preserve delicate or damaged film reels, turning them into durable and sharable digital content, ready for the world to see.

Video digitisation – We digitise virtually all videotape formats into a wide range of file types, including Lossless JPEG2000, MPEG and/or H.264, all tailored to the requirements of your future archive. Work with us to preserve your video collection for the future.

Audio digitisation – Cassettes, ¼ inch reels, DAT tapes and even CDs deteriorate quickly and playback devices are quickly disappearing.

DAMsmart works with you to digitise them, so you can continue sharing your valuable assets.

REGISTER AT abeshow.com DAMsmart is an approved

Our technology – Part working museum and part digital laboratory, we use broadcast quality equipment to playback your media. To enable us to service virtually all your needs, we have a diligently maintained a collection of most playback equipment that is now rare due to the effects of technology obsolescence.

audiovisual digitisation services provider to both the Australian National Film and Sound Archive and the National Archives of Australia. We digitise, professionaly, safely and with care.

Our digitisation platform is designed to be scalable to support collections of any size.

Using cutting-edge digital tools to capture and transform the content in a gentle, yet effective, digitisation process, your Technology 4Amber collection is never at risk.

Booth 5

Visit www.silvertrak.com.au/ –––––––––––––––––––––––––––

SONY AUSTRALIA Miller Street North Sydney NSW 2060 www.pro.sony.com.au

2022 ABESHOW Exhibitors include

Our4Arri team – Our team has years of experience and have worked 4Blonde together to provideRobot first-class digitisation projects, making 4Dalet hundreds of thousands of hours of content accessible and usable.

4Digistor With professional backgrounds in the broadcast industry and 4FujiFilm working at leading preservation institutions, we have expertise and 4Intraware experience that can’t be matched.

The DAMsmart difference – For 4Magna Systems us, however, we believe it goes &the Engineering beyond right technology and knowledge, it’s about truly caring 4Onair Solutions about getting the very best result for you – that’s the DAMsmart 4Panasonic difference – we are dedicated specialists. The team is actively involved in the audiovisual archiving community globally, where we play an active leadership role in the fight to preserve media

With a diverse portfolio of

businesses across 4Pacific Liveelectronics, Media music, film, gaming and

telecommunications, Sony is 4Professional Audio uniquely positioned to(PAT) be the & Television world’s largest technology and

entertainment& company.

Sony 4Rohde Schwarz Australia Limited and Sony

New Zealand Limited are wholly 4Ross Video owned subsidiaries of the Sony

4Silvertrak Corporation of Japan, a leading manufacturer of audio, video,

4Sony Australia communications and information technology products for the

4Studiotech consumer and professional

markets. Committed to producing

4Techtel innovative and quality electronic products, the range includes 4TVU Networks BRAVIA TVs, home theatre

projectors and sound systems, 4VizRT

home and personal audio, digital SLR cameras and PlayStation as well as professional broadcast and production equipment.

MEDIA PARTNER

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Roboeye under unified control

by Telemetrics latest RCCP-2A dedicated control platform.

Unit 18, 45 Leighton Place Hornsby NSW 2077 Tel: 2 8911 5107 Email: sales@studiotechau.com www.studiotechau.com

Cuescript, Australia’s most widely deployed teleprompter will be showing their latest CSF15 prompter with their lightweight folding hood.

Studiotech began in Brussels serving Belgium and Luxembourg in 1990, then Budapest, Hungary (1992), Warsaw, Poland (1995), Algiers, Algeria (2000) and Rabat, Morocco (2011). The most recent addition to the Group is Sydney Australia.

Net Insight’s Nimbra Edge will be with us; a cloud based management platform to organise and co-ordinate your SRT video encoders from encodes to decodes and if you need SRT, talk to them about their Nimbra 400.

STUDIOTECH AUSTRALIA

companies a unique opportunity: Monetise existing content and reduce traditional channel management costs by tapping into the growth of FAST Streaming TV.

ABE2022

In a relatively short time, Studiotech in Belgium, Hungary, and Poland has become recognised as a leading player in the field of audiovisual engineering across Europe. It has been due to the collaboration and professional support between the companies that lead to many successful collective and individual projects.

TV Logic broadcast 4K Monitors will be on hand in some larger sizes.

Bridge Technologies will be on the booth where you can see their VB440, a must have monitoring tool for uncompressed ST2110 IP video networks as well as their VBC software that provides a dashboard for broadcasters and telco’s that have probes distributed across potentially hundreds of PoP’s.

August 9-11, Doltone House Darling Island, Pyrmont.

–––––––––––––––––––––––––––

TECHTEL Booth 7

64 Hotham Parade Artarmon NSW 2064 Tel: +61 2 9906 1488 www.techtel.com.au

If you’re interested in storage our partner Spectra will be showing their Vail product for providing object storage that can span multi cloud and multi on premise storage locations consolidating all those resources into any single or multi name spaces you want.

Techtel will introduce the latest version of inflo®, web-based media Maybe, you want cloud to look asset management software The 2022 ABE Exhibition, Conference like on premise and for that our that’s proudly Australian Made and Workshops are returning towill have their partner GB Labs

by Techtel. Inflo® will be shown Unify Hub software.

Doltone House, Darling Island, partnered with Quality Australian

Made Bluefish 444from capture cards.

Pyrmont, AugustAbonAir 9–11.is the vendor to speak to about 4K live video wireless Staying with the home grown transmission we will be theme Techtel will show their Hear from industry experts onand hot showing their famous red Rx and EagleEye Network Management topics such as IP production Tx systems.and System developed specifically for

With the TVU Channel Cloud environment you can easily launch and manage as many channels as you want. Reach both global and niche audiences for next to nothing with no additional staffing and no limit to additional revenue.

Launch FAST channels to tap into the growth of streaming TV, through streamlined and highly targeted ad insertions. All with zero upfront fees and no hidden costs.

“At ABE2022, we are going to focus on two areas,” says Dave Demmocks of TVU Australia.

The first is REMI - remote production. We’ve been doing this for some time. A current example is we have 16 TVU packs being used by Channel Seven for the Commonwealth Games in Birmingham.

“The other area is the cloud, SaaS. Our TVU Channel product can very easily build a playout schedule.

Filling a channel schedule up is like filling out a Google calendar.

“TVU Channel provides a very simple to use drag and drop interface, shared data from your S3 bucket, multiple output 4Amber Technology options, and very easy to use integration 4Arri with live and breaking sources, all driven from a browser.

This gives rise to rapid VOD and 4Blonde Robot FAST channel deployments on 4Dalet a temporary or 7X24 basis in an extremely cost-effective manner.

4Digistor –––––––––––––––––––––––––––

their Cambria product. the perfect planning and resource management tool for any news To to do automated file based quality See the latest solutions empower organisation so have a look while assurance speak to us about production and delivery of your you’re catching up on the latest Veneratech as we will have their new features of ENPS. content.

Register nowPulsar for updates QC software tool on the booth.

Grass Valley will be showing their

Suite 2, Level 1 35 Mitchell Street 4Magna Systems McMahons Point NSW 2060 & Engineering Contact: Richard Hewitt Tel: +61 0422 410 774 4Onair Solutions www.vizrt.com

Booth 3

& notifications on speakers and

Canon has collaborated with long time partner Telemetrics and we will be showing the new Canon CRN300 and CRN500 PTZ cameras as well as the Telemetrics

–––––––––––––––––––––––––––

TVU NETWORKS Booth 9 Contact: Dave Demmocksddemmocks@ tvunetworks.com www.tvunetworks.com

Vizrt will return to ABE Show 2022 this August (09-11) to connect face-to-face once again with customers, partners, and friends, and share the latest updates on Vizrt’s software-defined visual storytelling solutions for broadcasters and media content creators.

House, Darling Island, Sydney, Vizrt says “We’re going to showcase some of our products and solutions including the Live Production in the Cloud hosted in AWS and talk about the upcoming release of Viz Engine 5, the most powerful live graphics compositor in the world designed to take the pain out of live graphics production. It provides access to adaptive graphics – an intelligently automated way to deploy graphics to multiple output formats simultaneously, saving time, effort, and reducing workflow complexity. Live Media 4Pacific

2022 ABESHOW Exhibitors include

VIZRT AUSTRALIA 4FujiFilm

Agile Media Processing Platform orattendees.

AMPP; a cloud based platform that extends your live production capability further than any other product on the market.

Vizrt offers Flexible Access to our workflows, and our platforms integrate with third-party products because we believe in enabling our customers’ success, giving them the right tool for the job, and accelerating their creative excellence.

Located on stand #03 in Doltone REGISTER AT abeshow.com

delivery, 4K, HDR, the Samoa DVB-T2 network.

HEVC, OTT, For file basedVR, transcoding our partner Capella will be showing Playbook from Associated Press is cloud broadcasting and more.

sports analysis, media asset management, and journalist story tools.

4Intraware

Vizrt is the world’s leading provider 4Panasonic of innovative visual storytelling tools for media content creators in broadcast, enterprise, or new media – unlocking the power of a story for all.

“We’ll also demonstrate the power

4Professional of Viz Mosart, a studio Audio automation & Television (PAT) system that represents the best of simplified operation and

4Rohde & Schwarz advanced device control, Viz Trio, the most widely used graphics 4Ross Video control application in the world with brand-new interface and 4Silvertrak an improved data-integration

workflow, and Viz Pilot Edge, a 4Sony Australia

powerful newsroom component

that’s used to create, manage and 4Studiotech deliver content to live and taped

4Techtel broadcast productions.

“For customers interested in 4TVU Networks a scheduled appointment,

please contact your local sales 4VizRT

representative. Our staff will be available onsite during the 3-day event.”

Visit www.vizrt.com

Vizrt offers market-defining software-based solutions for real-time 3D graphics, video playout, studio automation,

TVU Networks provides broadcasters and content

MEDIA PARTNER

PMS 356

REGISTER AT abeshow.com

PMS Cool Gray 8

ABESHOW

1 10:20 AM

ABE 2022 PREVIEW

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CAMERAS & LIGHTING

CAMERAS & LIGHTING

Sony FX6 Cameras Make ‘The Bachelor’ More Eligible Season 10 of The Bachelor Australia saw a significant aesthetic makeover and for that, Warner Bros. Discovery turned to the Sony FX6 Cinema Line camera and its full frame sensor.

AS WARNER BROS Discovery Director, Dave Wallace, explained, “As a worldwide brand The Bachelor looked to evolve and rejuvenate the format for Season 10. As the series director and alongside our DP Geoff Thomas, I was tasked with giving the series an overall visual with true cinematic qualities. The Sony FX6 was the perfect camera for this job.”

of the day sun or a scene lit only with street lamps and they love working with the footage. It’s a real win-win for everybody involved in the production.”

Wallace and his team wanted a full frame camera that could handle any situation and their significant volume of shooting.

Across the camera team there are a mix of zooms and prime lenses.

Stylised frames with foreground and light flares along with 75fps portrait sequences help make up a typical day of shooting.

He continued, “The FX6 body size allows our DP and operators to shoot off the shoulder, mount on cars, a jib or Steadicam. The low light capabilities are incredible which helps us approach the grade differently. The FX6 also slotted in perfectly from a production and post-production perspective. Transitioning from the Sony F5 to the FX6 is seamless for the Warner Bros. post-production team. Our camera department are very familiar with the Sony system so the FX6 was the perfect upgrade.

“For me the FX6’s full frame sensor combined with prime lenses is the superior look for broadcast. Put simply, this means when I’m at the monitors I’m always very confident we have hit the visual brief and that is a major plus.

Wallace said, “Our camera team are always hunting interesting and dynamic frames as part of the visual language. Our locations span across many different environments from large interior scenes with extensive lighting setups to more natural daylight sources, to shooting the interior of a car at night. There is really no environment that is off limits, especially with the low light capability of the FX6.”

“With up to eight camera operators rolling for up to ten hours a day the FX6 camera is a true workhorse. As a result, all of our principal photography is shot on the Sony FX6. The post team are amazed by the FX6’s ability to handle any lighting environment, whether its middle

Dave Wallace concluded, “The pictures the

For Wallace and the crew, a typical workflow involves shooting 1920×1080 with the XAVC codec and in SLOG3 Cine. Their frame rates are regularly 25fps and at 50 or 75fps when they are off speed.

FX6 produces are beautiful. It’s also a robust and nimble camera which makes it perfect for multi-cam reality TV. When spec’d correctly and used to its upmost it’s the best camera of its class by far. Finally, as The Bachelor is a huge scale production spanning across eight weeks of shooting, I have to stress that we could only settle for the best camera for this job and that is the Sony FX6. It is the perfect tool for every environment and the way in which our DP Geoff Thomas utilised all the camera’s offerings and functionality ensured we always met the visual brief.”

Visit https://www.sony.com.au/electronics/ professional-video-cameras/ilme-fx6

Budget Film ‘The Land’ Completed with Blackmagic BLACKMAGIC DESIGN recently announced that Australian micro budget film The Land was shot using Blackmagic Pocket Cinema Camera 4K and Blackmagic Cinema Camera digital film cameras, as well as colour graded using DaVinci Resolve editing, colour grading, visual effects (VFX) and audio post production software.

CAMERAS & LIGHTING

The Land, made for less than $50,000 AUD, is the directorial debut of commercial and artistic photographer Ingvar Kenne. The film was produced by Dr. Gregory Ferris, a senior lecturer in media arts and production at the University of Technology Sydney (UTS), which also recently purchased more than 20 Blackmagic URSA Mini Pro 4.6K G2 digital film cameras.

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The Land was shot mostly on Kenne’s own property in Wollombi, Australia, and heavily features Australian scenery. It tells the story of Jeremy and Neet, a couple who are living the Australian dream with successful careers and three adorable children. Then Jeremy’s best friend Simon calls bringing with him a secret

Jeremy thought long put to rest.

“Thanks to Blackmagic Design, there was a digital film camera in a similar price range that offered 2.5K CinemaDNG RAW files, which could be immediately brought into DaVinci Resolve,” said Kenne. “After our initial camera test, we knew we had made the right call as we had a camera that delivered a feature film look for a fraction of the usual price.”

Following initial tests and shooting scenes with the Blackmagic Cinema Camera, Kenne began using the Pocket Cinema Camera 4K as his main camera for the film.

local and international film festivals. Following his experiences on the film, Producer Dr. Gregory Ferris convinced the media arts department at UTS to invest heavily in URSA Mini Pro 4.6K G2s as its teaching cameras.

“The research, development and making of The Land fed into the production and post production resource decisions made for my course creation at UTS. This started with the purchase of the very first Blackmagic Design URSA as a tool for practice based creative researchers,” Ferris said.

He continued: “Up in the bush shooting, we didn’t have access to power and running water, so each minute of footage was really hard to come by. Sometimes we had to trek kilometres to get to a shooting spot with all that gear and no crew. After shooting, we had to become full time producers and, in retrospect, the filming itself was the easy bit.”

“This was just the start, and we went on to purchase more than 20 additional URSA Mini Pro G2s for UTS, which we now use in bespoke virtual reality setups, plus accessories like Video Assists and various DaVinci Resolve hardware panels. Blackmagic Design gear is used extensively across the range of day to day filmmaking, teaching and research as the faculty explores new ways of making media.”

The Land has already been featured at multiple

Visit https://www.blackmagicdesign.com/au

CAMERAS & LIGHTING

PRODUCE ANYWHERE DELIVER EVERYWHERE

grassvalley.com Copyright © 2022 Grass Valley Canada. All rights reserved.

CAMERAS & LIGHTING

LOCALIZE CONTENT FOR YOUR AUDIENCE WITH AMPP

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CAMERAS & LIGHTING

The ARRI ALEXA 35 The ARRI ALEXA 35 is a 4K Super 35 camera featuring ARRI’s first new sensor in 12 years. The company says it delivers 2.5 stops more dynamic range, better low light performance, and richer colours. The new REVEAL Color Science takes full advantage of the sensor’s image quality, while ARRI Textures enhance in-camera creativity.

ALEXA 35 MEASURES AT 17 stops of dynamic range (exposure latitude).

Having 1.5 stops more in the highlights and one stop more in the shadows than previous ALEXA cameras, while retaining the naturalistic film-like highlight roll-off, stray-light suppression in the camera and lens mounts ensures that the full contrast range and character of each lens are captured by the sensor. Together, the increased dynamic range and stray light control make it easier to handle any lighting conditions on set, increase flexibility in post, and provide the best source for HDR (High Dynamic Range) projects.

With low noise and sensitivity settings ranging from EI 160 to EI 6400, ALEXA 35 is a ‘High ISO’ camera. An optional Enhanced Sensitivity Mode can be applied to settings between EI 2560 and EI 6400, producing an even cleaner image in low light.

REVEAL Color Science is the collective name for a suite of new image processing steps used by ALEXA 35 internally, and also available through leading third-party post-production tools, for ARRIRAW processing. It includes an improved debayering algorithm for cleaner compositing, a new colour engine for more accurate colour reproduction, a new wide gamut colour space for faster grading, new LogC4 encoding to contain the increased dynamic range, and new LogC4 LUTs (Look Up Tables) for improved colour fidelity.

Filmmakers wanting to shoot with ARRI cameras while having to fulfill 4K mandates now have a broader lens choice.

REVEAL Color Science is also backwards compatible. ARRIRAW footage captured

by ALEXA LF and Mini LF cameras can be processed with REVEAL Color Science. This means that the ALEXA 35 and ARRI’s largeformat cameras can be combined on set and can also share LogC4 LUTs in post.

ARRI Textures is a feature that allows cinematographers to fundamentally alter the way in which the camera records images, should they wish to. Up until now, ALEXA cameras have been pre-programmed with a default texture that determines the amount and character of grain in the image, and the amount of contrast at different levels of detail, perceived by the viewer as sharpness. For the first time, ALEXA 35 provides the option to choose from a menu of ARRI Textures, much like selecting a film stock.

With its Super 35 4:3 native 4K sensor, ALEXA 35 can be used with a large range of existing lenses – modern and vintage, anamorphic and spherical, Super 35 and large format.

ALEXA 35 is ARRI’s smallest fully featured production camera, packing the features and processing power of a ‘larger’ ALEXA into a mini-sized body. Crews will be intuitively

familiar with the camera’s simple menu structure, support for 1TB and 2TB Codex Compact Drives, and MVF-2 viewfinder, now with HDR. Fast and easy operation is assured through a new left-side display, Advanced Color Match, pre-recording capability, and a slew of usability improvements such as additional user buttons. A total of 19 recording formats, incorporating efficient in-camera down-sampling and anamorphic de-squeezing, allow productions to optimise data rate, resolution, and other parameters, based on their individual needs. Mixed reality and virtual productions will also benefit from the camera’s ability to record lens metadata in all common standards and output real-time streaming metadata to ARRI’s Live Link Metadata Plug-in for Unreal Engine.

Visit www.arri.com

CAMERAS & LIGHTING

Canon EOS Firmware

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CANON HAS ANNOUNCED a firmware update for the Canon EOS C300 Mark III and EOS C500 Mark II digital cinema cameras. The new firmware will enable these cameras to be Frame.io Camera to Cloud (C2C) compatible devices.

This workflow can save valuable time, allowing a collaborative cloud-based workflow in a variety of production environments. Transferring footage from camera, from on set or location,

into the post-production workflow traditionally requires backing up files to a hard drive and carrying or shipping the drives to another location to be ingested for post. C2C workflow sends secure high-quality, low-bandwidth H.264 proxies, 4K 10bit 4:2:2 H.265 (HEVC) files and uncompressed audio files with matching timecode and filenames to the Frame.io cloud platform. Frame.io is now an Adobe company.

encoder connected to the camera output, Frame.io C2C workflow can automatically distribute clips to editors (or anyone else who needs them) the moment the Director calls “cut”. This enables immediate review of footage on an authorised user’s device on or off set, anywhere in the world, empowering all stakeholders to watch production and collaborate in real-time.

Using a third-party Wi-Fi, 5G or LTE streaming

Visit www.canon.com.au

CAMERAS & LIGHTING

CAMERAS & LIGHTING

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CAMERAS & LIGHTING

Matthews Air Climber MATTHEWS STUDIO EQUIPMENT’S Air Climber is an off-the-shelf, modular grip and lighting stand that reaches 7.62 metres and uses pneumatics to be safely raised and lowered via a regulator switch and air compressor.

A large levelling platform supports the telescoping column (mast). Complete with eight-risers, the design employs seven locking collars with tension control and a frictional locking system for each section. A clockwise turn of the handgrip engages a metal band that braces each riser section and safely tightens and locks the riser tube. Individual riser tubes may be locked in intermediate positions so the user can enjoy precision accuracy when raising and lowering. The system’s pan ring allows 360° of mast rotation without the need to completely lower the system.

The large levelling dolly platform base comes

equipped with four telescoping legs for footprint adjustment (maximum 2.44×2.44m, collapsed 1.52×1.52m) and four heavy-duty jacks with 35.5cm reach to level out the platform. The eight-section telescoping column can be easily removed from the dolly with a single wrench or can be left built and ready to transport in the back of a truck. The rotating Base at the bottom of the column (or mast) offers a Lock and Pan Wheel around it to ease fixture positioning. Four rugged tyres with brakes and security struts assure safe and smooth movement and secure lock down.

Air Climber has a maximum height of 7.62cm, minimum 1.98cm loading height, and load capacity of 91kg.

Visit www.msegrip.com

4K HDR Streaming, Collaboration and Review TERADEK’S SERV 4K is a 4K HDR hardware/software production-streaming solution that integrates cloud and local-network platforms in a flexible, streamlined workflow, simplifying real-time creative collaboration and decision-making for stakeholders on and off set.

Serv 4K boasts a high bitrate encode using H.264 or H.265 with 256-bit encryption and HDR (DCI-P3, PQ2084) throughput, allowing 4K60p 10bit 4:2:2 images to be securely streamed live or as instant recordings on-set and to remote viewers. Setup is straightforward for camera teams as the workflow, the device and web UI, and mobile app management are all intuitively designed for the simplest experience. Serv 4K also supports HEVC, delivering high-quality media in smaller file sizes.

Up to 20 devices can stream on a local network using Teradek’s Vuer app, with iOS, Android, PC, macOS and AppleTV support. Unlimited devices can access cloudbased live streaming and upload instant recordings to Teradek Core and third-party platforms like Frame.

CAMERAS & LIGHTING

io. If internet connection is lost, recordings are saved

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to an SD card for secure upload once connection has been restored. Streams and recordings are compatible with macOS, iOS, Android, and web browsers.

Visit https://teradek.com

ZEISS Lens Data Solution Improves VFX Workflows ZEISS CINEMATOGRAPHY has introduced its first service of the new CinCraft ecosystem for the digital application of lens looks into compositing and matchmoving workflows.

With CinCraft Mapper, ZEISS presents a new digital service that quickly and easily provides frame-accurate lens distortion and shading data for the visual effects (VFX) industry. This data is essential for digital compositing and matchmoving in order to achieve a cinematic result that is as realistic and precise as possible.

“Normally, lens grids must be recorded and processed in order to obtain this data – a process that is not only very time-consuming, but also errorprone and limited in scope,” explains Jonathan Demuth, Product Manager, Digital Cinematography at ZEISS. “With just a few clicks, CinCraft Mapper now provides this data directly on the basis of the metadata (lens type, focus distance, aperture) captured during film production. Lost clip metadata can also be added without difficulty. For compositing and matchmoving artists, this means that they can be sure they are not only receiving accurate data without having to rely on the preceding capture and workflow procedures, but also that the entire VFX process will be simplified and accelerated.”

ZEISS CinCraft Mapper delivers precise, frame-accurate lens data with which complex shots with multiple and dynamic focusing distances, such as car chases, can be edited more easily, quickly and completely, without the need to make assumptions due to incomplete data.

“CinCraft Mapper expands on the ZEISS eXtended Data (XD) technology that we introduced with the ZEISS Compact Prime CP.3 and have subsequently integrated into each new cine lens family,” adds Christophe Casenave, Head of Cinematography Products at ZEISS. “VFX artists no longer have to rely only on eXtended Data generated by lens and camera equipment on set. Now additional and historic lens family shading and distortion data can also be provided by the CinCraft Mapper service. At the same time, the service is also compatible with the existing XD technology.”

CinCraft Mapper delivers industry standard ST Maps for distortion and Multiply Maps for shading. These can be used directly in compositing and matchmoving software such as Nuke, Flame, and 3DEqualizer.

Visit https://cincraft.zeiss.com

CAMERAS & LIGHTING

Hybrid Powerhouse

XVS-G1 Switcher Processor

Meet the next-generation HD and 4K platform in Live Production Switchers. The new Sony XVS-G1 with its hybrid architecture and all-new 4RU processor is designed to deliver high-speed realtime processing. And with its new web-based application you can now enjoy remote access to a powerhouse of features with a PC, laptop or tablet.

ICP-X1124/X1224 Control Panel

For more information, please visit

CAMERAS & LIGHTING

• 4 new control panels with 1 M/E or 2 M/E configurations and up to 16 or 24 source button layouts • Up to 4M/E, 48 inputs and 24 outputs in HD/1080p mode or 2M/E, 24 inputs and 12 outputs in 4K(UHD) mode can be configured by adding optional I/O boards • Optional graphics processing unit provides built-in clip player, 3D digital multi-effects, extra still logo keys and new multi-viewer functionality • Up to 16 web browsers connected simultaneously for multi-menu, multi access setup or remote operation

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CAMERAS & LIGHTING

Multi-Camera Switching for LED Volumes MO-SYS ENGINEERING recently announced its cinematic content server for LED volumes, VP Pro XR has been further improved to incorporate multicamera switching. The upgrade fully orchestrates multi-camera switching to overcome the typical 5-6 frame refresh delay experienced by all LED volumes when switching between cameras.

The company introduced VP Pro XR, the industry’s first cinematic LED content server solution, ahead of NAB 2021 where it picked up the prestigious Product of The Year award. Designed specifically for use with LED volumes, with or without set extensions, VP Pro XR delivers cinematic standards for LED virtual production.

“Switching between multiple cameras pointing at an LED volume presents a challenge,” explains Michael Geissler, CEO of Mo-Sys. “While the camera outputs can be switched in one frame, the virtual scene displayed on the LED volume typically takes 5-6 frames to update. This means on every camera switch there will be 5-6 frames of the previous camera’s virtual scene displayed on the LED volume, before it updates with the correct perspective view for the new camera. Effectively, you get a background flash on every camera switch, which is unusable in production.”

With a new version of software for VP Pro XR, and the addition of a simple

Blackmagic Design video switcher, VP Pro XR will now orchestrate the delay between the operator switching between cameras, and the LED volume updating with the correct perspective view of the live camera.

Importantly, it will do this at up to the full UHD-4K resolution of the LED processor input, whereas previous workarounds would reduce the resolution of the content to HD to achieve the same outcome.

“Full resolution multi-cam switching is yet another unique feature of VP Pro XR joining Cinematic XR Focus for pulling focus between real and virtual elements, and NearTime for solving real-time VFX graphics quality,” concludes Geissler. “This follows on from the Cinematic XR objectives originally outlined when we launched our LED content server system last year.”

Visit www.mo-sys.com

Ultra-Quiet Film Assist System VIDEOSYS BROADCAST recently used the BSC Expo platform to launch its new Film Assist System – a robust low latency receiver and transmitter package that is specifically designed for film sets where ultra-quiet, high-performance technology is crucial.

Videosys Broadcast put its more than 10 years’ of expertise to good use during the COVID-19 lockdowns when the company redesigned its Broadcast Nano DTC Wireless RF transmitter to create the Silent Nano Transmitter (NTX), a product specifically tailored for the film market.

CAMERAS & LIGHTING

Colin Tomlin, Managing Director of VideoSys Broadcast, says: “Directors working on a closed set want absolute silence and won’t tolerate the sound of a transmitter fan whirring round in the background. Therefore, our starting point was to entirely remove the fan from our Broadcast Nano so that we could create an ultra-quiet product that didn’t become too hot to use.”

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NTX achieves both these aims and forms the basis of Videosys Broadcast’s new Film Assist System, which is ideally suited to outdoor and mobile locations, as well as locations where RF congestion is an issue. Alongside the NTX, Film Assist System also includes a Diversity Professional Receiver with optional eight-way diversity and highly responsive, state-of-the-art touch screen operation. Capable of handling all major HD frame formats and available in multiple frequency bands from 2.0GHz to 7.5GHz, the Film Assist System also features redesigned down converters that are much easier to mount on scaffold bars.

Visit https://videosys.tv

ZEISS Supreme Prime 15mm T1.8 ZEISS HAS INTRODUCED the Supreme Prime 15mm T1.8 to complete its Supreme Prime lens set, designed for outstanding quality, light weight, and cinematic look.

The 14-piece cine lens series ranges from 15 to 200mm with maximum apertures of T1.5 to T2.2. ZEISS covers a full range of focal lengths.

The new 15mm lens rounds out the lineup providing an extremely wide-angle view and a maximum aperture of T1.8.

The ZEISS Supreme Primes cover a wide range of camera sensors. Thanks to their broad compatibility with current camera models, such as the Sony Venice 2, the ARRI Alexa Mini LF and the RED Monstro, and their high-quality workmanship and rugged design, Supreme Primes can be used in a wide variety of situations.

Snehal Patel, Head of Cinema Sales, Americas, says, “The new Supreme Prime 15mm is a long awaited addition to the Supreme Prime line of lenses. It

offers cinematographers a nice look, with pleasing characteristics and a wide choice of magnifications, which can be used on either Super35 or Full Frame formats.”

The cinematic look provided by the lens family, which features a subtle and gradual focus fall-off and a consistently warm and soft bokeh, comes into its own when used for feature film and highend episodic production. For example, directors of photography (DOP) Armin Franzen and David Higgs, BSC, relied on the ZEISS Supreme Prime lens family for the 3rd season of the Sky series Das Boot.

Supreme Primes were also used to shoot the science fiction adventure ‘The Adam Project’ (DP Tobias Schliessler, ASC) and the sequel Knives Out 2 (DP Steve Yedlin, ASC) – both Netflix productions.

Visit www.zeiss.com

CAMERAS & LIGHTING

SPORTSCASTING

Gravity Media Captures History at Pho3nix SUB7 SUB8 Triathlon GRAVITY MEDIA PARTNERED with Mana Sports and Entertainment Group to capture history, on the Sunday the 5th of June, as four superstars of endurance sport, two men – Kristian Blummenfelt and Joe Skipper, and two women – Nicola Spirig and Kat Matthews, went head-to-head in a race that defied the impossible and broke the mythical seven and eight-hour marks for a full distance triathlon.

Broadcasting to over 50,000 viewers across the globe via YouTube and Facebook, The Gravity Media Production Centre in Sydney was a hive of activity, producing over nine hours of live coverage of the Pho3nix SUB7 SUB8 Triathlon in Germany, powered by Zwift.

Showcasing Gravity Media’s technical innovation, a remote IP production switched in Sydney with 16 cameras beaming in from the other side of the world, at the Lausitzring racetrack in Brandenburg. The broadcast included nine and a half hours of live racing bookended with pre-show and post-show content, featuring a host of special guests, pre-recorded content, and technical analysis.

“Gravity Media has a great reputation globally for not only providing complex technical solutions, but also for our highly credentialed and talented production team. The Sub7 and Sub8 is an example of a cost effective-full, turnkey Production.

From working with the client on the initial concept, pre-production, graphic design, crewing … right through to the telecast of the

event,” said Saul Shtein, Director of Production and Content at Gravity Media Australia.

The nine-hour event was streamed live on the Pho3nix Foundation’s YouTube channel, with a peak of 28,880 concurrent viewers watching these champion athletes finish under goal time. With 202,300 logged views after 24 hours, the live stream is projected to exceed a quarter of a million views over the next week. It was also mirrored on Facebook, where it reached 174,438 views and 15,995 link clicks, with related social media post engagement logging a whopping 600% increase from baseline.

“This large production showcased a truly global effort combining Gravity Media expert teams in Australia and France, with equipment from all offices including Germany and UK. Over 90 team members contributed to the great success of this project,” said Mike Purcell, Head of Production and Executive Producer at Gravity Media Australia.

“This event has been a great achievement at every level. Besides the technical achievement which has been brilliantly executed by the technical teams, on a complicated and very advanced set-up, it has also been a great collaboration between the Gravity Media offices across the globe. The athletes pushed their bodies to the limit showing that their achievements and drive have no limits.” said Solene Zavagno, General Manager at Gravity Media France.

A large amount of technical

equipment was introduced to the project to facilitate all required comms and video circuits to produce this large event. All the talkback was delivered with Unity communications via bonded devices. This type of event had not been seen before, and would not have been possible without the production, engineering, and technical effort from all involved.

“This project required complex engineering solutions. We collaborated closely with the Gravity Media team in France to connect both sites through IP comms and bonded camera technology. Our facility has been designed to cater for both remote productions and traditional broadcast methods. This unique flexibility allows us to be agile for any production, be it small or large, anywhere in the world,” said Adam Dodman, Studio Engineering Manager at Gravity Media Australia.

Twenty cameras were deployed including specialty cameras such as motorcycles, pole-cams, a

drone, and a Gyro-head camera Shotover, all sending feeds to two control rooms in Sydney via AviWest bonded technology. Other technology included twenty EVS record ports spread across three XT3 servers linked in the control room, seven SRT return video feeds, three GFX engines, multiple edit suites across Australian and Germany, two dedicated highlight loggers, a social media team managing all the social content, and all on screen graphics led by Gravity Media Australia’s design team and produced by our friends at Girraphic.

“This event was a great opportunity to demonstrate a proof of concept and to highlight what can be achieved through experience and innovation. I thoroughly enjoyed watching the event, a technically great achievement, everyone involved should be very proud. Well done,” said John Newton, CEO of Gravity Media.

Visit www.gravitymedia.com

Quantum-Link Matrix All-IP Workflow System

Similarly, at stadium events, COFDM camera systems provide immersive, close-up on-pitch action while bonded cellular systems support side-line reporting or team arrivals.

Through the unified workflow enabled by Vislink and Mobile Viewpoint’s Quantum-LinkMatrix software control platform, the operational efficiencies created for the remote production bonded cellular market can be directly applied to the guaranteed quality, low latency, on-pitch COFDM wireless camera systems.

The Quantum-LinkMatrix unified wireless camera workflow brings together COFDM wireless camera systems and bonded cellular roaming camera systems into one unified, managed solution.

By integrating the two production workflows into one video source and configuration management platform, live event production

teams can efficiently manage content capture from all types of wireless systems.

Visit www.vislink.com

SPORTSCASTING

COFDM WIRELESS camera systems Holding and bonded cellular systems frequently work side-byside at many live events, such as marathons, where the start and finish lines are covered by COFDM systems and the wider course is followed using bonded cellular technology.

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SPORTSCASTING

Ex-Fox Sports Creatives Launch PostMatch Agency EX-FOX SPORTS CREATIVES Karlton Akari and Jeremy Gilroy have founded a new sportsfocused creative agency, PostMatch. PostMatch is a full-scale video production house. Clients include Stan Sport, A Leagues, and the Australian Football League.

PostMatch is the agency behind Stan Sport’s most talked about TVCs, including their current tongue-in-cheek campaign for the Wallabies v England rugby series. Fronted by Wallabies prop Taniela Tupou, PostMatch will deliver the rollout across TV and digital (YouTube and social).

The team at PostMatch work remotely and, depending on the shoot, hire a location or studio space as needed. The team is currently working on projects for Stan Sport, SPORTbible, Fox Sports, SBS, Fight Cancer’s Footy Colours Day, and Wheelchair Sports NSW/ACT. In March 2022, PostMatch appointed Hugh Baldwin as Executive Producer. Former Senior Director of Programming for MTV, Nickelodeon, Comedy Central, Spike and 10Shake Kids. Hugh brings his 25-plus years of experience in the

entertainment industry to strengthen business development and consult on creative.

Karlton Akari, Co-Founder of PostMatch, said: “I’ve built a career as a creative who specialises in sports entertainment, working for multiple brands and channels including Fox Sports, UFC, NRL, AFL, Rugby AU, F1, Supercars, and Stan Sport. With PostMatch, we can build on our reputation for delivering original and inventive work.”

Jeremy Gilroy, Co-Founder of PostMatch, said: “I’m a true sporting tragic (on and off the field), and my knowledge across all codes runs deep. A creative approach to sports media feels second [Back L-R] PostMatch Co-Founders Karlton Akari and Jeremy nature to me. I know who we’re speaking Gilroy with Executive Producer Hugh Baldwin on the set of the Stan Sport Wallabies v England rugby TVC. to, and I know what they do and don’t want to hear and what they will and with PostMatch, as Executive Producer and won’t share with their peers.”

Consultant, through this stage in their evolution Hugh Baldwin, Executive Producer at is proving to be very rewarding.”

PostMatch, said: “PostMatch is growing quickly while producing excellent creative. Working Visit https://www.postmatch.com.au

NativeWaves Enhances Cricket and Gridiron Fan Experience SPORTS BROADCASTERS and streaming services who want to enhance the viewing experience for their Cricket and American Football fans should visit booth 5:D54 at IBC 2022 where Austrian solutions provider NativeWaves will be showcasing its latest NativeWaves EXP experiences for these sports.

Already available for football (soccer) and motorsports audiences, NativeWaves EXP gives audiences the opportunity to dive deeper into the action by exploring a wealth of additional content, at their leisure.

Powered by a dedicated low latency streaming platform coupled with a highly customisable experience framework, NativeWaves EXP can be applied to numerous types of content, programming, and live events.

Viewers choosing an enhanced event-centric experience on their smartphones and tablets, or mirrored to their TVs, can access additional content such as different camera angles, audio tracks, instant replays, and social media

integration. NativeWaves EXP can also be used and configured as a second screen experience that complements the main TV screen by offering additional personalised content and data on the mobile screen – all perfectly synchronised to the main screen via the audio without requiring watermarking of the original broadcast audio signal.

NativeWaves EXP is available now for easy integration into existing broadcast and OTT streaming ecosystems. Three options – NativeWaves Basic, Pro and Enterprise – are available to suit the needs of different broadcasters, and partners that have already deployed the NativeWaves EXP experience include ProSiebenSat.1, Sport1 and on B1SmartTV’s Sportworld app on Samsung Smart TVs in Germany, and on mobile devices.

At IBC, NativeWaves will be announcing new technology partnerships with PC add-on cards

provider DekTec, and with video transport and media cloud technology company Net Insight.

It is also announcing its membership of the High-Efficiency Streaming Protocol (HESP) Alliance, which will allow NativeWaves to deliver high efficiency streaming workflows to media companies.

Visit https://www.nativewaves.com

SPORTEL to Touch Down in Bali in 2023 SPORTEL IS EXPANDING its Rendez-vous series, adding another event for the global sports business industry in the first semester of 2023.

SPORTSCASTING

To open the new year, SPORTEL is introducing a new destination. After four years of absence, SPORTEL will be back in Asia, giving the opportunity to the SPORTEL community to reconnect with the Asian market, by bringing the business onsite.

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For the first time ever, SPORTEL will host an event in Bali; easily accessible with direct flights from Jakarta, Melbourne, Singapore, Dubai and Istanbul, and many other big cities around the world.

SPORTEL Rendez-Vous Bali will take place from 23 to 24 February 2023 in the outstanding setting of the 600 room Grand Hyatt Bali Hotel. The Welcome Party for all registered participants will be held at the hotel on 22 February at sunset.

This new initiative is organised in partnership with Transvision, the pay TV company under the media arm of CT Corpora, the biggest media conglomerate in Indonesia, owner of TransTV, Trans7, CNN Indonesia and CNBC Indonesia, and in cooperation with Java Festival Production, a respected organisation that is well-known for its annual international music festival, the Jakarta

International Java Jazz Festival.

In May 2023, SPORTEL Rendez-Vous returned to the United States at the newly refurbished Miami Marriott Biscayne Bay which has undergone a major $50 million transformation. SPORTEL management opted for these strategic dates in May to offer the best hotel rates to its participants. following directly on from the 2023 F1 Miami Grand Prix, save the date for SPORTEL Rendez-Vous Miami taking place from the 9th to the 10th of May 2023. ­Visit https://www.sportelamerica.com

SPORTSCASTING

News Corp Launches Community Sports Streaming Service NEWS CORP AUSTRALIA has launched a new home of live community sport streaming across Australia, KommunityTV. According to the company, KommunityTV is the evolution of News Corp Australia’s growing live sport streaming program, creating a dedicated channel for audiences to experience community and grassroots sports.

KommunityTV will allow viewers to: • Watch live games as well as replays, highlights and shows from desktop and mobile.

• Dive deeper into every game with localstorytelling highlighting all angles from pre, during and post-game coverage.

• Never miss a sporting moment involving friends, family and local community.

• All subscribers of News Corp Australia’s state-based and regional masthead will have access to KommunityTV, providing them unprecedented access to the nation’s most exciting crop of homegrown talent.

• KommunityTV taps into the company’s national sport network’s core value of supporting the growth of sport from the grassroots to the elite.

News Corp Australia’s Managing Director – News Sport Network, Michael Wilkins said KommunityTV was the logical progression for the company’s sport live streaming program, which had gone from humble beginnings to a national leader in recent years.

“We have seen more and more people turning to

digital platforms to consume live sport,” Mr Wilkins said. “We know KommunityTV will be a crucial next step in this evolution of sports broadcasting.

“This is an opportunity for community sporting organisations to improve their overall exposure in the local and wider community, but also a chance to bring those communities closer together.

“It’s not just about the vision, but the stories about our future sport stars that our sport network, the biggest in Australia, will bring to life each week.

“We are proud to launch KommunityTV and look forward to watching the best young athletes across the country.”

KommunityTV launched with an offering of sport content including Australia’s premier junior invitational basketball tournament, the National Junior Classic, as well as the Judo Australia National Championships, Victorian junior country soccer championships and the Netball

SA Country Championships.

The sport streaming service will continue to grow News Corp Australia’s season-long partnerships with the AFL NAB League, NRL Schoolboys Cup, Queensland School Sport Rugby League, Victorian Netball League, Southern Football League, Netball SA Premier League and SANFL. A list of new content will also be rolled out over the second half of 2022.

The launch of KommunityTV is being supported by a multi-channel national marketing campaign that will run across digital, print, radio and social channels.

Visit www.kommunitytv.com.au

Vislink Showcase NFT-Ready Video Clipping Tool

Vislink’s innovative solutions designed for the collegiate sports market include an NFT-Ready Video Clipping Tool, IQ Sports Producer (IQSP) and vPilot.

The NFT-Ready Video Clipping Tool allows sports organisations to instantly create, edit and publish clips from their live video content for publishing to social media and other platforms. Clips can be integrated with elements including pre-rolls, post-rolls and overlays, enabling the development and distribution of custom-branded short-form content that is available for licensing by teams and other content owners. The video clipping tool will be made available initially at no additional charge with the purchase of a live streaming encoder product from Vislink.

One of the most exciting potential use cases for the Video Clipping

Tool is the creation of nonfungible tokens (NFTs). NFTs are digital assets that represent realworld objects such as art, music, collectibles and increasingly, videos. According to a report by Deloitte Global, the most common and lucrative application of NFTs in the sports industry will likely be the sale of limited-edition video clips of sporting moments. They forecast that NFTs for sports media will generate more than $2 billion in transactions in 2022.

The Video Clipping Tool makes it easy to capture, package and convert video clips into NFTs that organisations can use as a revenue source while increasing engagement with their fans.

“The suite of solutions we offer to collegiate institutions can help deepen relationships with their fan base and monetise their video content,” says Carleton M. Miller, CEO of Vislink. “Our NFT-ready Video Clipping Tool opens up potentially significant revenue stream opportunities for institutions by leveraging the exploding market for sports video NFTs. Our AI-powered sports production systems deliver rich, immersive productions

with unrivalled broadcast quality that audiences demand, and new and profitable sources of programming for institutions of any size.”

IQ Sports Producer (IQSP) is a live sports streaming solution that uses sophisticated AI and action tracking technology to create automated productions without an onsite camera team. Unlike more rudimentary systems, IQSP was engineered to provide professional-grade, broadcastquality streams and incorporate premium features like high frame rates, agile multi-camera views, adjustable lenses and full panoramic capability, while supporting distribution to social media, OTT and other platforms.

It can also be deployed as an analytics and coaching tool

content production system that creates professional, multicamera productions easily and affordably without the need for a camera operator or director team. Productions can include easy-to-add features like graphics, dynamic ticker tape, overlays and video insertions. vPilot allows engagement-building elements such as statistics, expert commentary and match analysis to be added to the program segments.

vPilot is an AI-driven studio

Visit www.vislink.com

SPORTSCASTING

VISLINK RECENTLY FEATURED its solutions for automated, AI-driven remote production for live sports at the 2022 NACDA (National Association of Collegiate Directors of Athletics) Convention at the Mandalay Bay Resort and Casino in Las Vegas.

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SPORTSCASTING

Multi-Camera Control Sports App for Review and Replay TVU NETWORKS has announced a multicamera control sports app that enables officials to instantly review play during games and for producers to include that live video within their coverage. The app is part of an overall modular, microservice-based building block approach from TVU Networks, with the cloud-based production platform TVU Producer providing management of camera inputs, live feeds, audience interaction and audio mixing.

revolutionised the way replay is handled in terms of ease of operation and within a fully realised cloud workflow.”

Called TVU Replay, the app has two modes – Review and Replay. The Review mode enables officials and coaches in game to immediately ‘review’ any close call from their phone or tablet. Replay provides all production elements necessary to output clips to any device. The app is as simple to operate as any smart phone interface.

“By replacing purpose-built replay hardware with a video game controller, we’re opening up the door to a new, potential talent base,” added Shen. “This is just another example of innovation through listening.

We’ve heard from customers about the challenges they face and the roadblocks to doing what they want, how they want. The old way is just that, the old way. Our cloud solutions are available today.”

“We’re introducing TVU Replay in response to customer feedback,” said Paul Shen, CEO, TVU Networks. “We’ve been speaking with various collegiate conferences and their need for a nextgeneration review solution. Everything we do is in response to solving customer challenges.

With our devops culture, we quickly and easily built a solution that’s versatile for a variety of applications. We’ve created a tool set that has

Frame speed in Replay and Review can be controlled with your fingers on the touchscreen of a phone or tablet or using a video game controller for a laptop.

TVU Replay is suitable for sports teams, sports leagues, broadcasters and production companies.

In addition to Replay, TVU recently demonstrated

its latest in cloud and IP solutions that are reinventing the media supply chain during NAB 2022. Experience hands-on demos of TVU Channel, a 24/7 cloud-native broadcast solution with: full SCTE ad insertion, FAST Channels, emergency offsite remote master control and dedicated OTT Channels. TVU also showcased REMI remote production and the latest in aggregated 5G cellular IP transmission with support for 8K. Visit /www.tvunetworks.com

Cloud-Native Live Video Production from Chyron CHYRON HAS ANNOUNCED the launch of Chyron LIVE, an end-to-end, cloud-native live video production platform with highend switching, graphics, clips player, replay, telestration, and asset management capabilities.

Bringing in live camera feeds through a variety of transport protocols, Chyron LIVE makes it easy for a team or a single operator to deliver a stunning live production on the fly. LIVE comes with dedicated interfaces for each production role and ensures all user sessions are synchronised to allow for true collaboration.

Production crews can be fully distributed and operate from anywhere in the world to put together an incredible show from a universally accessible cloud control room.

“Our objective is to bring a Chyron-grade, cloud-native live video production platform to everyone,” said Chyron CEO Ariel Garcia. “With

a basic computer or tablet and a standard internet connection, anyone can produce a broadcast-quality show on demand – just paying by production hour.”

From anywhere with an internet connection, via the convenience of a simple web browser, users can access the Chyron LIVE platform to cut/mix live sources, adjust audio levels across all feeds, play out PRIME-quality graphics packages, create unlimited multimedia playlists, and produce live replays with telestration. The Chyron LIVE interface is easy to operate, either with complete touchscreen control, traditional computer mouse-and-click control, or external control devices.

“With Chyron LIVE, we’re making the tools of a top broadcaster affordable and accessible to all levels of production,” said Chyron Senior Vice President of Strategy Mathieu Yerle. “From a user standpoint, we’ve taken these professional

production tools – production switcher, CG, clip server, replay, telestration – and built them into a full web interface that will be easy to use for broadcast veterans and live production newcomers alike. Chyron LIVE’s ease of use and flexibility of deployment is going to empower content creators to wow their audiences.”

Visit https://chyron.com

Driving Fan Engagement at the Venue

SPORTSCASTING

VARIANT SYSTEMS GROUP has released Envivo Ribbon, an intuitive fan engagement solution that enables live event venues to drive any resolution LED display with real-time and pre-rendered content at near infinite pixel resolutions. Envivo Ribbon is a fan engagement live production solution that enables users to drive over 16 million broadcast quality pixels to video walls and LED displays with dynamic and engaging content.

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Building on the intuitive user interface of Envivo Replay, Envivo Ribbon further expands the live event production offerings first introduced with Envivo Studio with a story-telling tool to keep

fans engaged in every aspect of the live event at all levels of visual stimulus. Integrated with a limitless number of real-time data sources, content can be dynamically presented with immediate score updates, engaging statistics, timing information, and other relevant and engaging data.

Adolfo Rodriguez, Co-Founder and CEO at Variant Systems Group stated: “Envivo Ribbon incorporates the rich knowledge the company and its founders have of live production workflows with the intuitive and powerful user interface infrastructure introduced five years ago in Envivo Replay to provide customers

with the most powerful live production and fan engagement product in the market.”

Visit www.for-a.com and www.vsglive.com

SPORTSCASTING

IBM Serves AI and Cloud-Powered Fan Experiences for Wimbledon 2022

Co-created by the All England Club and IBM for Wimbledon.com and the Wimbledon app, the new features joined a comprehensive suite of digital fan experiences – including the IBM Power Index with Watson, IBM Match Insights with Watson and Personalised Recommendations and Highlights Reels – all designed to help global audiences stay more informed and engaged with players, matches, and the tournament.

New features for 2022 included: • ‘Win Factors’ bringing enhanced explainability to ‘Match Insights’: Building on the existing Match Insights feature of the Wimbledon app and Wimbledon.com, IBM is providing an additional level of explainability into what factors were being analysed by the AI system to determine match insights and predictions. Win Factors provided fans with an increased understanding of the elements affecting player performance, such as the IBM Power Index, court surface, ATP/WTA rankings, head-to-head, ratio of games won, net of sets won, recent performance, yearly success, and media punditry.

• ‘Have Your Say’ with a new interactive fan predictions feature: For the first time, users could register their own predictions for match outcomes on the Wimbledon app and Wimbledon.com, through the ‘Have Your Say’ feature. They could then compare their prediction with the aggregated predictions of other fans and the AI-powered Likelihood to Win predictions generated by IBM. The Wimbledon digital features were underpinned by IBM Watson and leveraged a hybrid cloud approach – using a combination of on-premises systems, private clouds, and IBM Cloud – enabling increased flexibility and efficiency. IBM Cloud provided the foundation and scalability for these digital experiences. It hosted and processed data from matches fed

into AI models built using IBM Watson Studio and IBM Watson Discovery to produce insights for fans, commentators and media.

Alexandra Willis, Communications and Marketing Director, The All England Club, said: “Leveraging technology to help fans become more informed, engaged and involved throughout the Wimbledon Fortnight is at the core of our strategy to ensure we are leveraging innovation to keep Wimbledon relevant and deliver outstanding digital experiences for fans, wherever they may be.

Core to these experiences is our ambition to help fans get closer to Wimbledon by understanding which players to follow and analyse, and inviting them to get involved with new match predictions and insights features, alongside our extensive scoring, news and video content across our channels.”

Kevin Farrar, Sports Partnership Leader, IBM UK and Ireland, said: “The digital fan features on the Wimbledon app and Wimbledon. com, beautifully designed by the IBM iX team and powered by AI and hybrid cloud technologies, are enabling the All England Club to immerse tennis lovers in the magic of The Championship, no matter where they are in the world. Sports fans love to debate and we’re excited to introduce a new tool this year to enable that by allowing people to register their own match predictions and compare them with predictions generated by Match Insights with Watson and those of other fans’.”

As the Official Technology Partner of The Championships for the past 33-years, IBM has developed solutions to modernise and streamline workloads, and delivered innovative digital experiences to engage sports fans around the world through IBM iX, the experience design arm of IBM Consulting.

Leveraging the same technologies IBM uses with businesses across industries and around the world, Wimbledon continues to accelerate innovation and improve the digital fan experience.

The full suite of IBM-powered digital experiences on Wimbledon.com and the Wimbledon App included:

• IBM Power Index with IBM Watson.

• An AI-powered analysis of player performance to help fans know who to follow beyond the most well-known, highly ranked players.

• Uses IBM Watson Discovery and IBM Cloud to analyse performance data, mine media commentary, and measure player momentum.

• Produces insights for fans including Ones to Watch and a Likelihood to Win probability.

IBM Match Insights with IBM Watson • Uses AI to generate a player factsheet for main draw singles matches, surfacing player insights, presenting the IBM Power Index and winner predictions.

• Features an ‘In the Media’ section that leverages IBM Watson Discovery to extract key insights about players from trusted news sources.

• Includes a ‘By the Numbers’ section that uses open-source AI to translate historical match statistics into player insights.

• New in 2022 – users could register their own predictions for match outcomes on the Wimbledon app and Wimbledon.com, through the ‘Have Your Say’ feature.

Personalised Recommendations and Highlights Reels • Once a fan decided who to follow via the IBM Power Index, they could stay updated through a series of personalised recommendations and highlights reels.

• This enabled fans to discover new players by making suggestions based on their current favourited players, the IBM Power Rankings, top players, country, and age.

• Included links to other features such as the IBM Power Index Leaderboard and Match Insights with Watson. If you registered with myWimbledon, you could receive personalised highlights based on the players you were following.

Visit www.ibm.com

SPORTSCASTING

THIS YEAR SAW IBM and the All England Lawn Tennis Club unveil new ways for Wimbledon fans around the world to experience ‘The Championships’ digitally, powered by artificial intelligence (AI) running on IBM Cloud and hybrid cloud technologies.

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NEWS OPERTAIONS OPERATIONS The ABC’s Plan to Axe its Librarians will Damage its Journalism. Here’s Why. When the war broke out in the Ukraine early this year, journalists scrambled to gather stories and images from the archives to supplement information and images gathered on the ground.

By Lisa M. Given, RMIT University A SIMILAR SCRAMBLE occurred when floods struck Queensland, as it often does when big stories break.

We saw the results on our screens, but what we didn’t see was the invisible yet critical work of librarians and archivists – the people who design, manage and facilitate access to the archival systems that house vital news resources.

This makes all the more surprising the news that the ABC plans to eliminate librarian and archivist positions and require its journalists to fill the gap. Journalists are expert investigators and storytellers, but their success in reporting stories rests on their ability to find source material quickly and effortlessly – a process in which librarians and archivists play a key role.

Timely access to source material is critical.

Extra time spent looking for resources – not to mention uploading and describing new material – is time taken away from journalists’ other work.

The ABC’s information professionals are trained according to the requirements of the Australian Library and Information Association (ALIA). They are experienced in helping journalists access resources easily and quickly.

They digitise and store resources methodically and apply the metadata – the detailed descriptive tags – necessary for efficient retrieval. This archival work is especially important at the ABC, a vital repository of Australian history and culture.

NEWS OPERATIONS

Consider a journalist who takes a photo of a building. When she archives this resource she must take care to note date, location and specifications. She will need to decide, for example, whether the location tag should be Australia, Victoria, Melbourne or Collingwood – or some combination of these terms.

Librarians and archivists make these decisions to suit the needs of journalists and editors who might search for that image months, years or decades later.

More importantly, though, archivists and librarians need to assign these terms consistently. If all buildings are assigned generic city locations (such as ‘Melbourne’), future journalists will find it hard to locate images for stories about specific suburbs.

Worse still, if journalists make different choices about how specific to be – with some assigning ‘Collingwood’ while others assign ‘Australia’ – future users of the system won’t easily be able to retrieve all images of buildings in the same location. If a busy journalist chooses not to identify the location at all – understandable in the midst of a busy newsroom – the image becomes lost in the system.

Why does this matter?

Over time, the problem compounds. As thousands of images, articles, recordings and other materials are added, people searching for material will be forced to search using multiple keywords, eating into their time for other journalistic work.

Relying on untrained journalists to do the work of qualified information professionals – asking them to archive their own materials and apply metadata – means valuable material will be mislabelled, or not labelled at all. As ALIA and the Australian Society of Archivists put it in their joint response to the planned staff cuts:

Research in information science demonstrates that people often take the simplest route, particularly when facing deadlines. So they may search for ‘Collingwood buildings’ and – finding nothing – presume that no relevant images exist, without realising that only a ‘Melbourne’ tag was assigned.

Without the librarians’ and archivists’ expertise to draw on, journalists will be hampered by less reliable and efficient metadata, wasting critical time for those working to deadline.

Key resources needed to verify facts will be overlooked, undermining the trustworthiness of reporting.

A vital part of our history

When information professionals do their jobs well, journalists and other researchers can readily find what they need and download material seamlessly.

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Metadata are critical for finding materials in an ever-growing sea of new information. Although some metadata tags (the name of the creator of a work, for example, or the date the work was created) may be easy to assign, other tags require expert, trained judgement.

Journalists will also lose access to specialist advice to help them find the information they need for credible, reliable reporting. Although some journalists may turn elsewhere for this advice – staff in public or government libraries, for instance – research demonstrates

that reporters and editors trained in digital searching practices are less likely to seek the advice of librarians and colleagues overall.

Information science researchers and practitioners across the GLAM sector – galleries, libraries, archives and museums – developed this expertise over many centuries.

“The ability to find archival footage and reports which underpin everything from tv drama to news radio is deeply

Following the second world war, they spearheaded the development of complex automated systems designed to gather, catalogue, index, and present information to the public. This work underpins everyday practices, from searching Google to finding movies on Netflix.

valued by other abc professional staff,

who do not have the

professional skills to undertake this work themselves.

Although the stereotypes of librarians and archivists remain (inappropriately) grounded in a presumption of work happening in dusty bookshelves and basement collections, these professionals are taking the lead in ensuring digital materials are accessible. As ALIA and ASA note, the ABC’s collections are “of national significance”, the value of which goes well beyond the work of just one news organisation.

Without complete, easily findable records, journalists can’t tell the whole story; their ability to quickly retrieve historic source material, to complete background work and conduct fact-checking, will be eroded, as will their ability to tell Australia’s stories with integrity.

Lisa M. Given is Director, Social Change Enabling Capability Platform and Professor of Information Sciences, RMIT University This article is republished from The Conversation under a Creative Commons

NEWS OPERATIONS

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NEWS OPERATIONS

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NEWS OPERATIONS

Telemetrics Advances Portfolio of Remote Camera Control Products TELEMETRICS RECENTLY announced a variety of new and expanded products and systems designed to streamline multi-camera video productions for the studio, live sports, corporate, education and government markets.

This includes innovative tools designed to streamline remote production, on-site operations and a hybrid of both.

OMNIGLIDE ROBOTIC ROVING PLATFORM Now considered the most versatile studio camera pedestal on the market, two Telemetrics OmniGlide Robotic Rover systems offer new operational features that give it better performance for on-air as well as virtual sets and augmented reality applications – from companies like Orad (Avid) and Vizrt.

New features include ‘Path Planning’, which is performed by the control panel working in tandem with the rover. This allows users to navigate complex nonlinear paths in a studio or event space, avoiding collisions with set pieces and studio personnel. Special AI-assisted software enables the rover to instinctively learn the space it is operating in and find the safest and least obstructed path from Point A to Point B. PAN/TILT SYSTEMS The Telemetrics RoboEye, with its 1-inch Exmor 4K sensor block offers the highest quality image acquisition (at 30 or 60fps) of any compact robotic camera in its class, complete with 12G output that’s now available with SDI BNC connectors or fibre (for longer distance signal distribution) that connections via an SFP module (customer supplied).

starting position and when they are ready they can now, with a single button press, execute the move.

InFlight Bumping lets operators adjust for last second movement by the talent or changes to the production workflow in real time.

So they are pushing or bumping the camera movements ‘In flight’.

REFRAME TALENT TRACKING The RCCP-2A panel provides improved talent tracking in its reFrame AI-assisted talent tracking software, available both in the STS Studio and LGS Legislative software packages. Developed in 2020, Ultra-Wide Band sensors add a third layer of tracking to go with its proven facial and object tracking. This offers greatly improved accuracy when tracking people on camera and also serves as a real-time location or spatial awareness technology, which has made reFrame the most accurate and reliable talent tracking software on the market.

Also featured is a new camera control interface between the Telemetrics CP-S5 compact pan/ tilt head and a variety of DLSR cameras – from companies like Canon, Panasonic and Sony – offering nature documentarians, professional photographers and others the ability to capture high-quality stills and video via precise remote control from short or long distances.

NEW INTELLIGENT POWER SUPPLY

ROBOTIC CAMERA CONTROL PANELS (RCCP)

The PS-RM2-48 can be used to remotely turn robotic camera components on and off – and it features a lot more juice than previous power supplies. In the past, a Telemetrics OmniGlide Robotic Roving Platform would require three or four standard power supplies (one for the rover, the Televator, and pan/tilt head). Now, with this new product, users can power all of the components with a single power supply.

Therefore, it’s easier to use, takes up less rack

The company continues to add new features that streamline workflows and make robotic camera operation faster, easier and more capable than ever before. New features of the RCCP-2A control panel include Prep Execute, Motion Edit, Enhanced Trim Shot, and InFlight Bumping.

The first, Prep Execute, enables users to instruct the robotics to prepare to move to a

Telemetrics has developed a new multi-function power supply for its robotic camera control systems that includes an LCD display for labelling purposes and diagnostics. The new PS-RM2-48 also includes ethernet connectivity, giving users the ability to control and monitor remotely.

space and is more fully featured. The PSRM2-48 power supply has begun shipping with all new Telemetrics robotic camera systems.

ELEVATING (AND DESCENDING) COLUMNS The Telemetrics Extendable Camera Mount ECM-3/-5 Televator robotic (descending) extension arm adds new opportunities for on-air creativity by offering twice the extension (more than eight feet of travel) of other Televator products. This allows users to mount it on a Telemetrics TG4 ceiling track system on the ceiling extending down – for spaces with high ceilings – and add unique camera angles and ‘looks’ to your production that were not possible before.

The longer descending column features smooth operation for precise camera positioning and easily maintained cable management on the front and back of the unit, making performance at its longest extension (4.5m with camera and Pan/Tilt Head) and most compact (1.34m) form factor sturdy and reliable. The unit is designed to be mounted on a ceiling extending down from a Telemetrics TG4 track system and trolley for unique shots.

Visit www.telemetricsinc.co

ABC News Onboard with Qantas

NEWS OPERATIONS

ABC AUDIENCES WILL ENJOY access to ABC News services when travelling on Qantas flights and in lounges after a new agreement was signed by the two organisations.

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Passengers on Qantas domestic and international flights will enjoy up-to-date news and information from ABC News, including business, sport, weather and entertainment reports.

ABC News will produce two Qantas specific bulletins each day of 30 minutes each, presented and reported by ABC journalists. The new service will be introduced to passengers by ABC presenter, Jeremy Fernandez.

ABC Managing Director David Anderson said the three-year agreement meant audiences could access ABC News content

wherever they were travelling in the world.

“This is a significant partnership between two of Australia’s most recognised and valued organisations. Qantas passengers deserve the most trusted news and information services and the ABC is very happy to be there with them.

“The bulletins we produce for Qantas will bring key stories

and conversations from across Australia and the world into Qantas aircraft and lounges.”

Qantas Chief Customer Officer, Stephanie Tully, said the agreement would keep travellers well informed of the day’s events.

“We’re delighted to have ABC News bulletins on board,” she said.

Visit www.abc.net.au

NEWS OPERATIONS

Autoscript Upgrades Winplus-IP Prompting Software AUTOSCRIPT HAS RELEASED an upgrade to its Winplus-IP prompting software. WinPlus-IP v1.12 delivers updates including the ability to take prompt output directly from a PC as local video or NDI stream, deploy Autoscript’s Voice speech recognition system with Arabic languages, and use a single licence on different installations.

Other advances in WinPlus-IP v1.12 include a new optional Local and NDI prompter licence.

This allows the prompt output to be taken directly from a PC as either local video output or as an NDI stream, meaning an XBox-IP or IP prompter is no longer always required. NDI integration with Autoscript’s IP prompting workflow enables fully IP productions to produce prompt

output video for third-party equipment such as TriCasters and multi-viewers.

WinPlus-IP v1.12 also introduces dongle licence support, allowing licences to be linked to a dongle rather than a PC. This gives users the ability to transfer their licence between different WP-IP installations.

“Dongle licensing allows more flexibility for WinPlus-IP users.” says Philip Dalgoutte, Product Manager at Autoscript. “It’s particularly useful for rental houses with operators out on a variety of jobs each week, giving them the freedom to move operators independently from the prompting PCs. Dongles can also be used for manual disaster recovery.”

Existing WinPlus-IP owners who upgrade to v1.12 will be able to migrate from the current machine ID licensing to USB dongle licensing.

WinPlus-IP v1.12 will be supplied as standard with all new installations

and a free demo version can be downloaded from the Autoscript website. Existing WinPlus-IP customers can upgrade for free for up to one year from date of purchase.

Visit www.autoscript.tv

Haivision Announces SRT Support to Aviwest Solutions HAIVISION SYSTEMS has announced the introduction of SRT video streaming support in Aviwest IP video contribution solutions bringing broadcasters more options than ever before for contributing real-time content for coverage of premium live events, news, and sports.

In April 2022, Haivision closed the acquisition of Aviwest, an industry leader in mobile IP-based video contribution systems and a pioneer in the transmission of live video over cellular networks.

The acquisition expanded Haivision’s video contribution solutions portfolio to include 5G transmission, mobile video

contribution, and network bonding technology. Introducing SRT support to the Aviwest PRO, AIR, and RACK series now allows for interoperability with the complete Haivision product portfolio and other SRT-enabled solutions. This allows Aviwest devices to be used alongside other Haivision broadcast technology in a wide variety of broadcast production scenarios, including multi-camera remote production, cloud contribution and distribution, and collaborative decentralised workflows.

Originally developed by Haivision, SRT (Secure Reliable Transport) is an open-source video transport

protocol that optimises real-time streaming across unpredictable networks. Widely adopted by the media and entertainment industry, SRT provides television broadcasters with a secure and reliable solution for low-latency video contribution over the internet. SRT includes lowlatency packet loss recovery and AES 128/256-bit encryption.

Adding the SRT protocol for streaming over fixed IP networks alongside the Aviwest Safe Stream Transport (SST) technology, designed for cellular transmission of high-quality live video, dramatically improves interoperability with live

broadcast production equipment and remote production workflows that include a mix of mobile and wired video contribution.

“With the introduction of SRT outputs as a complement to our SST technology, we are further expanding the scope of what is possible by offering our customers the best in reliable, low-latency video transmission over any network and to a wide range of receivers, gateways, and cloud workflows,” said Ronan Poullaouec, VP Engineering Remote and Wireless Systems, Haivision.

Visit www.haivision.com and www.aviwest.com

Flowics Adds New Data Connectors

Data Connectors are native integrations of external thirdparty data providers, built into Flowics Graphics. They make it possible to integrate live external data – such as live sports statistics or betting, weather, finance, and cryptocurrency data – into broadcast graphics without the time and expense of custom development or manual data entry.

Instead, data flows from third parties into Flowics Graphics and on to the designated cloud-based

graphics files as directed. In this way, users can create live graphics complete with the value-added information audiences expect – all within minutes and with little knowledge of graphics production.

In addition to its already robust Data Connector library, including BetMGM, Sportradar, Stats Perform, and The Weather Channel, among other native integrations, Flowics has expanded it with the following new integrations: • Apex Legends, free-to-play Battle Royale Hero shooter game, published by Electronic Arts • CoinStats, provider of financial information for Crypto assets.

• Matsport, MSO, and RTRT. me timing and race tracking

providers.

• OpenWeather, an open API for global weather data.

• Polygon.io, provider of financial and stock market data.

a Flowics Graphics subscription.

Flowics subscribers that want to incorporate third-party data can choose as many connectors as they need.

Furthermore, the Flowics solution is flexible enough that the Data Connectors’ architecture can integrate on-site data sources through the Flowics Middleware.

This flexibility is especially beneficial for users that deal with data sources that are only available in a local area network instead of on the internet.

“Time and time again, our customers have told us how costly and time-consuming it was to build custom solutions in order to integrate live external data into their graphics. That’s why we created Data Connectors, and customers have said this is what sets Flowics apart from competitors,” said Flowics CEO and Founder Gabriel Baños. “With input from users, we’ve grown the catalog rapidly, and we’re so pleased with the adoption we’re seeing.”

Data Connectors are add-ons to

Visit www.flowics.com

• PUBG, online multiplayer Battle Royale Game developed and published by PUBG Studios.

• Rouvy, a virtual cycling app.

NEWS OPERATIONS

FLOWICS HAS ANNOUNCED several new additions to its catalogue of data connectors. The move broadens the assortment of native integrations of live external data that can directly populate broadcast graphics created with the Flowics’ cloud-based engine.

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POST PRODUCTION ‘Dark Noise’ Sees the Light with Blackmagic Blackmagic Design has announced the new thriller ‘Dark Noise’ was completed using DaVinci Resolve Studio editing, colour grading, visual effects (VFX) and audio post production software for the film’s post production and was shot using Blackmagic Design digital film cameras.

AUDIO POST PRODUCTION was also completed using Fairlight Dwas also completed using Fairlight Desktop Console audio control surface.

‘Dark Noise’ tells the story of a young woman who is sent audio recordings from her biologist father after he goes missing at a remote national park. She uses his audio clues to try and find him, but stumbles into a dangerous organised crime operation. Starring Imogen Sage, Callan Colley and Steve Le Marquand, and directed and written by Clara Chong, the film was shot in the wilds of Australia during the early days of the global pandemic.

Ben Allan ACS was the cinematographer and colourist, while Chong also served as film and audio editor for the film. Allan is the youngest person to ever be awarded the ACS letters by the Australian Cinematographers Society, the only accredited cinematographer in the world to be awarded the CSI letters as a colourist by the colourist Society International and has more than 1,500 film, television and commercial credits to his name. Chong has nearly thirty years’ experience in the industry after starting in Tokyo and training in New York.

For ‘Dark Noise’, the team used URSA Mini Pro 4.6K G2 and Pocket Cinema Camera 6K digital film cameras and DaVinci Resolve Studio for colour correction, editing and audio work.

“Blackmagic products gave us the ability to see our vision through, cohesively, from production to post. I don’t think we could have made this film without Blackmagic Design,” Allan said.

POST PRODUCTION

For production, a large part of the film was shot in dense forests in bad weather and at night, hours outside of Sydney, Australia. Allan, due to Covid restrictions, often had to shoot with a minimal crew or with only himself and Chong.

The URSA Mini Pro 4.6K G2 and Pocket Cinema Camera 6K’s small form factors and ability to capture cinematic images in low light helped Allan get the shots he needed.

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“The size of both cameras and the ability for one person to handle each one was a lifesaver. We were shooting an hour and a half away from any support, so the cameras’ reliability was another thing that I counted on,” Allan continued. “Also, I have a unique perspective being a colourist, as well as a DP and camera person. I know exactly

what data I need in each shot, especially at night using minimal lighting where I need to know that the cameras will get me as much data as possible. Shooting in Blackmagic RAW got me what I needed with a huge amount of picture information but while using as little storage as possible.”

Throughout filming, Allan had post production, in particular audio, in mind. The film’s protagonist was an audio professional using sound to investigate the disappearance of her father.

The creative use of sound, in combination with colour correction, is almost a character of its own in the film and needed to drive the story and viewers’ emotions. To do this, Allan expanded his post production studio to include the Fairlight Desktop Console and a DaVinci Resolve Mini Panel.

“The footprint of both the Mini Panel for colour and the Fairlight Desktop Console for sound really made it possible to have all of these controls within easy reach in a single studio for the first time ever,” he said.

‘Dark Noise’ was the first film that Allan used Fairlight audio editing tools on. This included the Fairlight Desktop Console, which is a compact surface featuring a bank of 12 touch sensitive faders and pan knobs, built in LCDs above each channel strip, channel control buttons, automation transport and navigation controls, and more. “Because Fairlight is designed from the ground up for film mixing, all the tools and processes you need are built right in,” Allan said.

“Additionally, the Fairlight Desktop Console gives you the precise, tactile control you need for long form productions.”

With his own studio set up, Allan was able to work through the pandemic lockdowns to finish the film in time for a May 2022 release.

“Colour and sound make an impact on the audience at the same level. They give an

emotional and sensory reaction. In ‘Dark Noise’, this was especially true in the shadows. Manipulating sound, shadows and locations of sound in Resolve is amazing,” he said.

“There was a moment when I was working in Fairlight and went ‘ah’, we should do this with the colour in the scene.

“I made the audio edit on the console and then with a single click jumped to the colour, reached across to the Mini Panel and captured the matching visual inspiration I had for the scene right away.

This is something that has never been possible before at such a high quality level.

“I loved working in Resolve on ‘Dark Noise’ because it was so much easier to put colour and sound in tune with each.

The combined effect was amazing.

“I loved working in Resolve on ‘Dark Noise’ because it was so much easier to put colour and sound in tune with each.

The combined effect was amazing. Resolve has been able to fundamentally change how filmmakers create. With everything coming straight out of Resolve, the whole process is just amazingly efficient. Mixing and matching various resolutions and audio formats for different delivery requirements is so fast and effective.

We are very glad we made the switch,” he said.

‘Dark Noise’ started screening in Australian theatres during May and will be available on streaming services worldwide. https://www.blackmagicdesign.com/au

POST PRODUCTION

Autodesk Debuts Flame on AWS Cloud

“As part of our ongoing efforts to support a cloud-based production ecosystem for the media and entertainment industry, our engineering team worked closely with AWS and system integrators to bring artists an alternative to working with Flame via on-premise workstations,” said Steve McNeill, Director of Engineering at Autodesk. “Artists can now tap into Flame on the AWS cloud, helping teams scale up capacity during crunch times without needing to purchase additional hardware. Working on the cloud further supports seamless collaboration with remote artists, as globally dispersed teams are tasked with managing increasingly complex productions.”

Updates in this Flame release include:

• Flame on AWS: Autodesk’s Flame Family of products can now be run on the AWS cloud, offering a scalable and secure work environment with a wide selection of compute and storage services. Teams gain access to powerful, modern hardware without requiring additional CapEx to purchase new onpremise workstations.

Artists can connect to a Flame instance anytime, anywhere with solutions like Teradici CAS remote desktop software using PCoIP technology and be upand-running in minutes, freeing up cycles to focus on creative tasks rather than technical aspects of production. And with parallel distributed file storage solutions built with WEKA, artists can safely store and playback shots in realtime.

• Improved Animation Editor: A redesigned Animation Editor panel provides artists with an enriched workflow for manipulating curves. More intuitive framing and filtering of curves, enhancements

that fine-tune the selection of points in complex graphs, and simplified terminology in drop-down menus and buttons further help to expedite artist workflows.

• Enhanced HDR User Interface: To support increasing demand for HDR workflows, a new setting optimises Flame’s user interface (UI) on HDR monitors, allowing artists using on-premise workstations to accurately view and manipulate vibrant, high-quality imagery. Artists can now see the viewport picture and background interface together in HDR fidelity on HDR capable

monitors.

• Apple M Series Support: Compatibility with Apple M series devices via Rosetta 2 offers new hardware options and improved performance for artists.

• More Capabilities: Artists can run Autodesk’s Flame Family of products on Rocky Linux 8.5 and enjoy updated camera RAW formats like RED, Blackmagic RAW, and Sony X-OCN from VENICE 2 6K and 8K cameras.

The latest update to Flame, Flare, and Flame Assist is now available at no additional cost to Flame Family subscribers.

Visit www.autodesk.com

AJA openGear Updates

Cinedeck Supports Blackmagic

AJA HAS RELEASED free new firmware updates for select AJA openGear cards with a host of improvements designed to help production professionals better maintain the integrity of signals and manage associated metadata as they move throughout the chain. Building on AJA’s latest Mini-Config v2.26.3 software update for its MiniConverter line, OG-Hi5-4K-Plus v1.6.1, OG-HA5-4K v1.6.1, OG-4K2HD v1.5.1, and OG-12GM v1.2.2 bring users powerful new enhancements such as HDR VPID pass through, BT.2020 and dual-link support, Dolby Audio compatibility, and more.

CINEDECK HAS ANNOUNCED support for Blackmagic Design video technology solutions.

This includes integration between Cinedeck’s cineXplugins for insert and edit and Blackmagic Design’s professional editing and post production tool, DaVinci Resolve.

In addition, Cinedeck’s software based ingest solution, CD2, has added support for Blackmagic Design’s input/output (IO) cards.

AJA U-TAP USB 3.0 powered capture devices are getting an upgrade with AJA U-TAP v1.5.6. Available as a free download today from AJA’s Support page, the release delivers PsF support, including (HD) 1080PsF 23.98, 24, 25, 29.97, and 30 – advancing support for Sony, Panasonic, and Canon SDI equipment. The latest release now changes the device name to start with AJA U-TAP Video or AJA U-TAP Audio for both U-TAP SDI and HDMI devices, making it easier to set up and manage them within compatible software. It also includes support for Windows 11 and macOS Monterey.

Visit www.aja.com

Cinedeck cineXplugins makes it simple and easy for broadcasters and content producers to insert edits into video.

Support for DaVinci Resolve means that users can insert edit to their existing DaVinci Resolve NLE workflow. By allowing just the required change to be inserted into DaVinci Resolve, it means that only that portion of file changed needs a QC check. CineXplugins saves production time because there is no need

to export the entire file or re-check the entire file for bad pixel or export error.

CD2 shares the same features as the full range of Cinedeck Ingest Servers in a pure software solution. Blackmagic Design’s IO cards are simple to integrate and enable simultaneous capture and playback in all formats. By integrating them with CD2, users can quickly capture and ingest raw footage ready for editing and distribution, without the need for racks of hardware.

Visit https://cinedeck.com

POST PRODUCTION

AUTODESK’S FLAME FAMILY of products now runs on Amazon Web Services (AWS), empowering creative teams to deliver professional-grade content fast and securely, virtually from anywhere. Flame on the cloud debuts in a feature-rich update to Autodesk Flame, Flare, and Flame Assist, along with enhanced HDR and animation workflows to help artists achieve high-end VFX that exceed client and audience expectations.

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POST PRODUCTION

disguise Launches Unreal Engine 5 Plugin FOLLOWING THE LAUNCH of Epic Games’ Unreal Engine 5, users of visual storytelling platform disguise can, with the help of disguise’s new RenderStream plugin, immediately benefit from the game engine’s nextgeneration photorealistic visual capabilities.

Blackmagic Design DaVinci Resolve 18 BLACKMAGIC DESIGN has announced DaVinci Resolve 18, a major new cloud collaboration update which allows multiple editors, colourists, VFX artists and audio engineers to work simultaneously on the same project, on the same timeline, anywhere in the world.

DaVinci Resolve 18 supports the Blackmagic Cloud for hosting and sharing projects, as well as a new DaVinci proxy workflow. This update also includes new Resolve FX AI tools powered by the DaVinci Neural Engine, as well as time saving tools for editors, Fairlight legacy fixed bus to FlexBus conversion, GPU accelerated paint in Fusion, and more.

DaVinci Resolve 18 supports Blackmagic Cloud, so users can host their project libraries on the DaVinci Resolve Project Server in the cloud. Share projects and work collaboratively with editors, colourists, VFX artists and audio engineers on the same project at the same time, anywhere in the world.

POST PRODUCTION

The new Blackmagic Proxy Generator App automatically creates and manages proxies from camera originals. Create a watch folder and new media is automatically converted into H.264, H.265 or Apple ProRes proxies to accelerate editing workflows. Customers can extract proxies into a separate folder for offline work.

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Users can switch between camera original footage and proxies in a single click. With Blackmagic Proxy Generated proxies, DaVinci Resolve knows where in the file tree to

find them, instantly linking to the camera originals in the media pool.

Edit with proxies, then relink to camera originals to grade.

DaVinci Resolve 18 adds intelligent media location management, so that when users are collaborating they can quickly link media to their unique file paths. Now they don’t need to manually re-link or search for assets when users work remotely.

Live stream their DaVinci Resolve Studio viewer and display on a remote computer monitor, or a reference grading monitor, via DeckLink to anywhere in the world.

The low latency, high quality 12-bit image is ideal for remote editing or colour grading giving users instant feedback on changes.

DaVinci Resolve 18 features incredible new tools for colourists.

Located in the magic mask palette, the new object mask is able to recognise and track the movement of thousands of unique objects. The DaVinci Neural Engine intuitively isolates animals, vehicles, people and food, plus countless other elements for advanced secondary grading and effects application.

The new depth map effect lets users instantly generate a 3D depth matte of a scene to quickly grade the foreground separately from the background, and vice versa.

Customers can bring attention to action in the foreground, help interview subjects stand out, or add atmosphere in the background of a scene.

Subtitle support has been expanded to include TTML and XML timed texts and embedded MXF/

IMF subtitles. View and import subtitles from media storage, create regions to support multiple simultaneous captions per track, and set individual presets and text positions when indicating different speakers.

Transitions in the effects library’s shape, iris and wipe categories now have a checkbox, allowing users to easily reverse the direction of the transition. This gives them additional flexibility when using these types of transitions, as well as adding to their creative possibilities.

A new 5×5 option in the multicam viewer now allows users to view up to 25 different angles in a single multicam clip at the same time.

Ideal for large multicam projects, this makes viewing, cutting and switching between more angles much easier, rather than moving between pages to see different angles.

disguise has been working closely with Epic Games to develop and launch the latest version of their free, open-sourced proprietary RenderStream plugin that allows its user community to seamlessly integrate Unreal Engine into their disguise workflow with minimal configuration. Through RenderStream, disguise users can create output streams on Unreal Engine projects allowing them to make real-time content changes directly from disguise’s software interface Designer.

The new plugin also enables users to unlock new features in Unreal Engine 5 such as the Nanite virtualised micropolygon geometry system and a new Virtual Shadow Map system, allowing them to create virtual scenes in extended reality (xR) with massive amounts of geometric detail.

DaVinci Resolve supports the latest industry standard audio formats natively, including immersive audio formats like Dolby Atmos, Auro 3D, MPEG-H, NHK 22.2, and SMPTE. The space view scope displays a real time view of every object and its relationship to the room and other objects in 3D space.

To benefit from the latest features in Unreal Engine 5 within their disguise productions, users will need to have access to the latest disguise software release, r21. Released just a week before UE5, r21 brought significant improvements to the disguise software UI and overall system performance, as well as new tools for colour workflows. Developed with the help of disguise’s Live and Colour Insider groups and software beta testers, r21 addresses common user challenges and requirements across both live and virtual production environments, also unlocking a most streamlined user experience.

Visit www.blackmagicdesign.com/au

Visit www.disguise.one

In DaVinci Resolve 18, GPU acceleration allows paint brush strokes to be generated and displayed in real time, for a more intuitive approach when performing cover up work or graphic design. Instant visual feedback allows users to assess their work and make corrections in any stroke style or shape.

POST PRODUCTION

Christie and Lightstorm Entertainment Push Boundaries of Cinema IN A PARTNERSHIP that spans 16 years, Christie and Lightstorm Entertainment, Inc., filmmaker James Cameron’s production company, collaborated to bring enhancements to theatrical display capabilities for 3D, HFR digital cinema for Avatar and the much-anticipated Avatar 2. Known for his creativity and development of cutting-edge technologies to push the frontier of cinematic storytelling, Cameron used Christie cinema projectors as a key part of realising his vision.

The partnership began in 2006 with an agreement to share know-how and technological

innovations that would help to propel the future of immersive, cinematic experiences, which has included providing Lightstorm Entertainment with Christie’s newest projection systems as well as support.

“Over the years, we’ve worked closely with the team at Lightstorm,” explains Brian Claypool, executive vice president, Cinema, Christie. “With our range of Xenon and RGB laser projectors with Real|Laser technology, Lightstorm has been able to review footage at various stages of production, to ensure the final product looks as intended on the

big screen.”

Part of Lightstorm’s production process includes a Christie 4K, HFR capable projector installed into a ‘pod’, used to review footage as it’s filmed on set. Additionally, Lightstorm has Christie projectors installed in multiple postproduction environments allowing Cameron to work on creating the final images to be used in the film Avatar 2.

“Christie has been a good partner.

We’re using their projection systems at all our production sites, in the US and New Zealand,” says James Cameron. “Wherever I am, I can view progress on my films

in high quality stereo 3D, just as the audience will see the movies in theatres when they come out.

This is essential to our working process.”

“Lightstorm’s partnership provides us the feedback that we, as a manufacturer, use to continue to stay on the cutting-edge of digital cinema technology,” says Claypool. “We’re thrilled that our technology is supporting Cameron, and the team at Lightstorm Entertainment, to push the boundaries of the cinematic experience on a film that is sure to bring audiences into theatres.”

Visit www.christiedigital.com

Colorfront Turbo-Charges Dailies COLORFRONT, the developer of highperformance dailies/transcoding systems for motion pictures, OTT, broadcast and commercials showcased super-accelerated capabilities and more expansive DCP/IMF mastering toolsets across its product lines, plus a pioneering technology integration with Frame. io’s Camera to Cloud workflow initiative, during NAB Show 2022.

Colorfront Dailies systems have excelled in feature and high-end TV production for over a decade, due to powerhouse performance and the continual implementation of cutting-edge capabilities.

Thanks to engineering collaborations with Apple, Express Dailies 2022 is optimised to leverage extreme performance from the new Mac Studio M1 Ultra workstation, and was shown processing SDR and HDR footage simultaneously, with output to Apple XDR displays, making this combination an attractive and cost-effective proposition for those involved in dailies operations.

Express Dailies 2022 has also been updated to support the latest native camera formats,

including Red V-Raptor 8K VV, Sony Venice 2 8.6K and improved performance for Blackmagic Design 12K RAW. Express Dailies 2022 was shown processing footage shot by DP Claudio Miranda ASC at 8.6K on Sony Venice 2 to different SDR/HDR deliverable formats.

Additionally, Colorfront has significantly upgraded the colour pipeline capabilities of Express Dailies 2022, powered by a newlyoverhauled Colorfront Engine. Chief amongst these is support for the latest ACES 1.3 Academy Metadata (AMF) and Common LUT (CLF) formats, which together with seamless integration to Express Dailies’ Parametric Look Modification Transforms (LMTs), provide a full ACES-compliant pipeline from set to dailies to finishing. Colorfront’s On-Set Dailies 2022 has also been updated with the same support for ACES and the latest camera formats.

Colorfront’s R&D team has also been working closely with Adobe company, Frame.io, to integrate its products into Frame.io’s Camera to Cloud enterprise, and Express Dailies 2022 was showcased as part of this initiative on the main showfloor at Frame.io’s Booth.

Over the last decade, Colorfront Transkoder has been adopted by Hollywood studios, OTTs and post-production facilities worldwide as the ultimate tool for DCP/IMF mastering. Colorfront has ensured Transkoder has maintained this position by continually adding customer-driven features.

Continuing its long and fruitful collaboration with Dolby, Colorfront has updated Colorfront Transkoder 2022 to export Dolby Vision HEVC, using the Dolby Encoding Engine, and has added support for the latest Dolby Atmos immersive audio processing, plus Dolby Vision Live Creation developed for televised events. Dolby Vision IMF mastering is boosted with brand new support for HTJ2K (High-Throughput JPEG 2000) and ISXD (Isochronous Stream of XML Documents) dynamic metadata track file support. Output formats have been extended to include SMPTE 2.1A DCP. On the audio side, Transkoder 2022 now features loudness analysis/reporting, enabling users to check thresholds on content, plus improved multichannel-to-stereo audio mix-down tools.

Visit www.colorfront.com

Mistika Enhances Boutique and Ultima

“In this latest version we were focusing on developments that are contributing to an enhanced integration of Mistika Boutique and Ultima with trending (post) production pipelines – Onset, Review, VFX, Color Management and Delivery. In addition, we have

made some enhancements that improve the communication with other post-production softwares,” shared Adrian Gonzalez Diaz, Mistika Boutique Product Manager.

A new development presented in this latest release is the Automatic VFX Versions Management. This new intelligent feature allows you to import VFX shots or even several different versions of them in just a few simple clicks. Communication with compositing softwares such as Nuke has been greatly

improved by adding a ST Maps Import and Export feature, which provides all the stitch information including geometry and optical data.

Enhanced Export option has been added to LUT 3D, providing the possibility to export it from the entire colour corrector or just from a specific stack, such as FX or UniColor. Conform functionality has been greatly improved by adding Smart Import Media option, only importing the shots needed, and not all the media.

Colour Management has also received significant improvements, adding new colour curves to UniColor and ACES 1.3 support. Important new functionalities of this latest ACES release include invert ODT, enhancing Motion Graphics, Animation and CGI workflows and a new Gamut Compression algorithm dealing with the ‘blue fringe problem’.

Finally, XAVC and ProRes formats now include the option to embed Colour Metadata in the render.

Visit https://www.sgo.es/

POST PRODUCTION

A NEW RELEASE of Mistika Boutique and Ultima is now available to all users, introducing powerful new and revised features that will boost collaboration with other software applications and work environments.

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POST PRODUCTION

Adobe Announces Frame.io for Creative Cloud ADOBE RECENTLY ANNOUNCED it is bringing Frame.io’s video collaboration platform to its millions of Creative Cloud customers and released updates to and , including native M1 support for After Effects. With the introduction of Frame.io for Creative Cloud, video editors and key project stakeholders – including producers, agencies and clients – are able to collaborate seamlessly in the cloud. This is the industry’s first integrated review and approval workflow for post-production, allowing editors to get to final approval faster and easier than ever before. Demand for video collaboration solutions is on the rise in a digital economy where more content is being created than ever before and remote teamwork is becoming the new normal.

Now, as part of a Frame.io for Creative Cloud Creative Cloud subscription, video creators can: • Share work in progress with an unlimited number of reviewers anywhere in the world.

• Get frame-accurate comments and annotations directly inside of Premiere Pro and After Effects, all without leaving their timeline.

• Use Frame.io accelerated file transfer technology for fast uploading and downloading of media with 100GB of dedicated Frame.io storage.

• Work on up to five different projects concurrently with another remote user.

• Work with Camera to Cloud – the fastest, easiest and most secure way to get footage from cameras to editors, motion designers and other stakeholders.

After Effects updates include: • Native M1 Support – now

launches up to seven times faster and renders compositions twice as fast on M1 Macs compared to an Intel 10-core iMac Pro. This unlocks more creative possibilities for motion designers as they are now able to iterate their work faster than ever.

• Scene Edit Detection – powered by Adobe Sensei uses the latest artificial intelligence (AI) and machine learning technology to automatically detect scene changes in an edited clip and places them as individual layers or creates markers at edit points for faster project setup.

• Extended Viewer enables users to view 2D and 3D layers located outside a frame’s edge when using the Draft 3D engine; see more of the design, navigate 3D space; and move 3D layers more easily. Users can hide or dim the area beyond the frame to get a look at the final shot.

Beta, the redesigned core workflows are now more intuitive and visual: • Import – focuses on media rather than project settings, letting video creators easily scan and scrub files for assembling media from different locations.

This makes it faster for pros and easier for new users to get started.

• Header Bar – provides a cleaner, more centralised navigation so users can quickly switch between the core tasks of import, editing and exporting.

Premiere Pro updates include:

• Export – lets users quickly upload media directly to popular destinations like YouTube, Facebook and Twitter. It features smart presets that take the guess work out of encoding and preparing files for delivery, making it easier for both new users and pros to deliver content.

• Reimagined Import, Header Bar and Export Experience – Following a successful public

• Auto Color – powered by Adobe Sensei uses AI to generate firstpass colour corrections. It acts

• Binning Indicators for 3D Layers – show which 3D layers render together in the same 3D space, enabling them to intersect and cast shadows on each other.

This gives users a visual map of how After Effects composites 2D and 3D layers together.

as a guide to help new content creators become familiar with adjustments. It is also a jumping off point for experienced users to fast track their colour correction before moving on to secondary colour tasks, like skin tone or sky adjustments. Auto Color was introduced as Auto Tone in Premiere Pro public beta in 2021.

• Performance and Workflow Improvements include the ability to show and hide markers by colour, a Remix progress indicator for audio clips and improved trim mode playback looping.

• New Free Adobe Stock Assets including thousands of HD video footage, motion graphics templates and more, are now available in app to help create videos that stand out.

Visit www.adobe.com

POST PRODUCTION

Lightworks 2022.2 Delivers In-Edit Video QC

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LWKS HAS ANNOUNCED that the Lightworks video editing software platform has amplified and enhanced its pro editing features. The company says the new release ensures Lightworks is “… the optimum tool for importing, editing, finishing, and for the first time ever, quality checking and delivering perfect projects every time.”

A new behind-the-scenes integration with Lightworks sister software, QScan, gives editors a

powerful, world-first ‘in-edit video QC’ workflow.

Being able to automatically QC clips on ingest and sequences on the timeline allows video professionals to automatically detect issues such as video levels, missing audio, photosensitive epilepsy triggers, loudness levels, digital dropouts and more, directly in the edit.

Unique to Lightworks, this built-in QC functionality ensures all media projects will be finished perfectly

to specifications every time.

operating systems, saving time

Other major enhancements in Lightworks 22.2 include official Apple ProRes certification, reimagined 10-bit editing from import to export, quick conversion import LUTs and brand new scope functionality.

These tools cover the entire pro editing experience from first import to final delivery and allow production professionals to natively create high-quality content across all major

during the creative storytelling process.

The new Apple ProRes integration will allow content creators and post-production professionals to natively create high-quality ProRes content regardless of their OS and save time during the creative storytelling process.

Visit www.lwks.com

MEDIA IN THE CLOUD Seven Sets Sail with Techtel and Spectra’s BlackPearl Storage AFTER A RIGOROUS REVIEW of object-based storage solutions, Australia’s Network Seven has implemented the Spectra BlackPearl Converged Storage System for its network-wide program, news, sport and historic archive. The solution supplied and integrated by Techtel is the first Australian deployment of BlackPearl integrated with VizRT for news production. BlackPearl is a modern object storage solution that moves content into multiple storage targets based on pre-set policies.

archive for a while, and for us the real trigger to move on this was seeing the Spectra-VizOne integration being adopted worldwide,” said Andrew Anderson, Director of Broadcast Operations for Seven West Media. “With BlackPearl we know we have a guaranteed level of performance and unlimited data access for the foreseeable future. Techtel’s proven ability to support Spectra products in Australia is well known so we look forward to working with them.”

Seven turned to Techtel for a solution as it became clear that the sun had set on their legacy storage systems and a change was necessary to protect their data whilst making vast improvements to the availability of their content. The BlackPearl solution from Spectra Logic addressed all of Seven’s requirements so Techtel architected a solution that could deliver seven years worth of storage at Seven’s main news production centres in Sydney, Melbourne, Brisbane, Adelaide and Perth. Additionally, in Melbourne, further flexibility was required to allow Seven to migrate data out of an old Sony PetaSite library that contained program material.

The solution will serve content to Seven’s network-wide deployment of VizOne and VizStory, allowing news and production editors to retrieve, edit and publish content at breaking news pace. The RESTful integration between VizOne MAM and BlackPearl has been in deployment now for years, which provided absolute confidence to Seven that the solution would be robust and ready to go off the shelf.

“When Seven approached Techtel for an archive solution, choosing a product that was MAM vendor independent made BlackPearl the logical choice. Spectra Logic’s BlackPearl integrates with any modern media and entertainment MAM provider, and when combined with BlackPearl RioBroker, a software front-end data mover for BlackPearl, it can also integrate with third-party HSM’s for streamlined migration. We worked closely with Seven to ensure that we could deliver the performance they needed and I’m really pleased with the final result,” added Matt Hall, Business Development Manager for Techtel.

Visit www.techtel.com.au

Cloud-Powered DRM

AntChain Launches Video Copy Detection

INSYS VIDEO TECHNOLOGIES recently launched Cloud DRM, a fully server-less security solution dedicated to OTT platforms and content creators.

ANTCHAIN, the flagship technology brand of Ant Group, recently launched a new video copy detection solution to help make copyright protection technologies more efficient and accessible to content creators.

Being cloud-native, Cloud DRM is not limited by on-premise infrastructure. It can handle any traffic volume without compromising the streaming platform performance.

“We designed Cloud DRM to respond to the needs of the changing video market,” says Dawid Górniak, Product Manager at Insys Video Technologies. “Due to its cloud-based, auto-scalable infrastructure, it can issue unlimited licences per second. That means it can easily handle viewing peaks or help content distributors expand to new markets.”

One of the key features of the service is its adaptability. Cloud DRM integrates with three major DRM systems – Apple FairPlay, Google Widevine, and Microsoft PlayReady – to guarantee compatibility with the most popular end devices. In addition, its easy-to-use API and the adoption of standardised interfaces (such as SPEKE and CPIX) guarantees quick integration with external systems, even if the streaming company decides to change its player or packagers.

Visit www.drm.cloud

With recently developed algorithms, AntChain’s new solution can precisely identify and localise infringements in video segments that are difficult to detect by the human eye.

The solution can also accurately detect copied segment pairs between videos frame-byframe within a few seconds.

In 2020, AntChain unveiled its blockchainbased digital copyright services platform, which enabled content creators to quickly authenticate and verify a variety of original works, including videos, audios and pictures.

With the release of the video copy detection

solution, the platform now provides creators additional capabilities to protect themselves from copyright infringements.

“The new solution has an approximately 99% chance of accurately detecting copied video segments with different transformations, including video clipping and pattern (text/ image) insertion, among others,” said Hui XU, Vice President of Digital Technologies at Ant Group. “Our new solution will make copyright protection technologies more accessible to content creators and IP owners.”

As of March 2022, the AntChain-powered digital copyright platform has supported more than one million content creators and helped protect over 80 million original works.

Visit https://antchain.net

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MEDIA IN THE CLOUD

“Seven had been considering the Spectra BlackPearl as a solution to replace our news

BlackPearl has created an opportunity for broadcasters who currently have a costly and complex stack of ageing software to migrate to a single, simple, affordable solution. The BlackPearl object storage solution also allows multi-tenant architecture so several client platforms like VizOne MAM can access data from a common infrastructure removing the need for

each system to have its own silo of storage.

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MEDIA IN THE CLOUD

EVS Introduces MediaCeption Signature EVS HAS ANNOUNCED the launch of MediaCeption Signature 1.0, the company’s latest-generation asset management solution for fast turnaround productions.

Combining a series of new webbased interfaces, MediaCeption Signature enables users to perform all the different media workflow functions in live or near-live productions with the highest level of speed, efficiency, scalability and reliability.

It leverages EVS’ live production servers, media workflow management tools, a storage system, and provides tight integrations with Automation, NRCS or MAM systems for the creation of seamless workflows from ingest to playout. Fast

turnaround editing operations are also ensured thanks to certified integrations with most popular and advanced video editing tools.

Due to the flexibility of EVS’ latest XT and XS series of servers, the solution allows for the dynamic, simultaneous support of multiple formats, codecs and framerates, including the support of 24p when operating with the XSNEO software-defined server.

Broadcasters can also benefit from integrated SDR<>HDR conversion capabilities for a simple and straightforward way to seamlessly manage fresh and legacy types of content in a single workflow. Finally, the solution’s web-based user interfaces and advanced proxy file management

empower users to collaborate on content from different locations.

Kerem Can, VP Solutions at EVS, said: “Today, production centres need to manage and deliver a huge amount of content through a growing number of channels while dealing with increasingly complex media workflows.

MediaCeption Signature gives teams the operational flexibility they need to be more productive in environments where pressure is at its highest, and where fast time to air is critical.”

“Flexibility in terms of deployment is another important factor,” said Nicolas Bourdon, CMO at EVS. “The back-end infrastructure of the MediaCeption Signature solution can be optimised using what

we call a ‘Balanced Computing’ approach. This gives the customer the possibility to deploy parts of the solution either on premises or in the cloud, depending on their expectations in terms of latency, density, security, availability, reliability and cost.”

“MediaCeption Signature is the perfect example of how our development teams are able to combine the best IT technologies with today’s broadcast media standards to ensure the highest level of flexibility and reliability in today’s evolving production environments” he concluded.

Visit https://evs.com

ELEMENTS Launches Cloud Solution for Media & Entertainment MEDIA STORAGE SPECIALIST ELEMENTS is set to transform media workflows with a remarkable new cloud and hybrid solution. The software platform runs on your preferred cloud service, as well as providing integration for all the popular editing applications.

“Obviously using the cloud reduces the cost of complex hardware on your premises,” said André Kamps, CEO of ELEMENTS. “That was just our starting point, as we set out to deliver real workflow innovations, tailored to the specific needs and constraints of the media and entertainment industry.”

The ELEMENTS media storage

and workflow ecosystem is already recognised as providing unprecedented speed and interconnectivity. In part this is due to the adoption of BeeGFS, the ultra-modern file system for ultimate speed, developed

by ThinkParQ at the Fraunhofer ITWM. Now ELEMENTS has implemented this same file system for cloud storage.

The result is the familiar excellent performance and user experience, coupled with the elastic scalability of the cloud. ELEMENTS ensures that, wherever the content resides, every user has low latency access, even in a remote, collaborative production infrastructure. They also can

access the ELEMENTS Media Library from anywhere, to preview, share and collaborate.

“We are all aware of the plus points of the cloud, like very high availability and only paying for what you use,” Kamps added. “What we bring is the understanding of the real needs of the post industry, not least in supporting Adobe Premiere Pro, Avid Media Composer,

DaVinci Resolve and all the other applications that professionals rely on. We guarantee the best possible performance, and we enable you to use your favourite cloud supplier.”

Visit https://elements.tv

DataCore Software and Atempo Combine Forces

MEDIA IN THE CLOUD

DATACORE SOFTWARE and Atempo have announced the integration of Atempo Miria Data Management platform with DataCore Swarm object storage software.

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“Miria’s new WORM capabilities for long-term archive now takes full advantage of the S3-compatible API and immutability options in DataCore Swarm, enabling granular time navigation through simple retrieval of multiple files at a given point in time,” stated Louis Laszlo, Director of Product Management at Atempo. “It offers highly flexible configurations, high availability, and unmatched performance while reducing enterprise storage costs.”

Organisations are primarily using Atempo Miria and DataCore Swarm for active archive, preserving large volumes of multimedia files, like videos, so they can be quickly retrieved in full, or partially restored on-demand as short clips directly from Media Asset Managers (MAM) or from Miria’s Web interface.

Additionally, the joint solution can be used to cost-effectively archive large dataset volumes while decluttering expensive high-performance shared storage required for post-production work.

Miria’s new capabilities make it easy to store important files for long-term retention leveraging

Swarm’s WORM/immutability options to prevent ransomware, tampering or unintentional deletion.

“Customers favour the combination of Miria and Swarm for their active archive workflows for several reasons, including the open approach for managing and storing metadata with each object, the scalability of the joined solution as well as the high performances delivered,” said Ben Watson, Technical Director, Product Management for DataCore.

“They benefit from a flexible and massively scalable archive where content is immediately accessible to users and workflows.

Both solution elements have an extensive track record for addressing customers’ challenges in rapidly scaling media library or sharing content between remote sites.”

Visit www.datacore.com

MEDIA IN THE CLOUD

Dalet Flex Advances Accessibility, Workflows DALET HAS ANNOUNCED key capabilities available in Dalet Flex supporting accessibility requirements, expanded language options, and camera data management capabilities.

The Dalet Flex release adds new tools and language support that enable customers to manage, create, and deliver content with greater efficiency starting from the moment they capture content. It also adheres to Web Content Accessibility Guidelines’ principles, making it easier for everyone, including those with disabilities, to collaborate on projects.

Dalet Flex can be deployed in the cloud or on-premises. It can be hosted by Dalet or the customer as a dedicated, single-tenant implementation. Dalet Flex for teamsis hosted and managed by Dalet.

New Dalet Flex capabilities include: • Greater Accessibility – Dalet Flex is being adapted to meet

the Web Content Accessibility Guidelines’ principles of perceivable, operable, understandable and robust.

The improvements range from colour adjustments for greater contrasts to aria labels identifying interactive elements of the page, to reorganising HTML elements and styles.

• Expanded Language Support – Users can switch the interface between languages, making it easier to support multilingual workforces.

• Camera Data Wrangling – Dalet Flex features advanced camera card and spanned clip management, providing more efficient management of content coming from camera cards. Users can archive or restore an entire card in a single operation.

Visit www.dalet.com

Avid Unveils Next-Gen of NEXIS

The Avid NEXIS F-series solutions allow media production teams of all sizes to work from anywhere by providing secure, remote access to media and metadata across online, nearline, cloud and archive storage. Avid NEXIS | VFS allows users to deploy Avid NEXIS storage on-premises, in the cloud, or as a SaaS solution, simplifying their ability to collaborate from anywhere.

This new generation of Avid NEXIS shared storage systems, which provides storage with no latency or delay for collaborative and realtime workflows, also includes the Avid NEXIS | PRO+ introduction for smaller collaborative teams.

The Avid NEXIS | PRO+ delivers the proven reliability teams demand to optimise the entire lifecycle of their content.

Serving as the brain of the Avid NEXIS F-series and Avid NEXIS | PRO+, Avid NEXIS | VFS now virtualises storage into a single

pool of shared resources. It accelerates collaborative media workflows by allowing teams of any size to quickly and securely access content from anywhere.

Avid NEXIS | VFS software also features built-in intelligence to automate administrative tasks and allow Avid NEXIS F-series storage to adapt to changing workloads without user intervention. From dynamically reallocating storage capacity and optimising bandwidth to delivering protection with automatic drive rebuild, it provides the agile environment and reliability required for 24×7 operations.

Avid NEXIS | VFS also powers easy collaboration and fast turnaround, no matter what video, audio, news, sports or graphics production tools are being used. Hundreds of users can simultaneously browse, find, and share media and projects from anywhere.

Visit www.avid.com

MEDIA IN THE CLOUD

AVID HAS UNVEILED its next generation of NEXIS shared storage solutions with the Avid NEXIS F-series family of storage engines and Avid NEXIS | VFS (virtual file system).

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MEDIA IN THE CLOUD

TVU’s Critical Threat Defence for Broadcasters TVU NETWORKS has announced the first cloud-native, 24/7/365, critical threat protection solution for broadcasters.

TVU Networks’ Channel Ready is cloud-native innovation that enables broadcasters to run stations remotely from a single simple-to-use interface on a laptop or tablet. With Channel Ready, the operator can instantly control 100 percent of their stations’ upcoming live and prerecorded programming, commercial content, crawl capabilities, and captioning.

“We saw what happened with ransomware last year,” said TVU founder and CEO Paul Shen.

“Broadcasters set up security protocols properly, and then, in an instant, complete and total loss across too many stations. Before and after that we saw stations sending people home because of Covid. The problem of physical facilities needed to be solved.”

Television stations’ ability to continuously broadcast critical information has never seen the size and scope of the threats today. From airborne and computer viruses to social and political unrest, to legacy equipment wear and tear, ransomware, and wicked weather seemingly everywhere, the sound of the cell phone can be triggering

for GMs and GVPs. Countless disaster recovery plans are immediately obsolete when facing both digital and physical disruptions.

From there, TVU Networks’ TVU Channel solution was developed to serve as what Shen describes as: “Backup master control. Everything in TVU Channel can sync with a station’s MCO schedule and servers, so if anything goes down for any

reason, Channel is a click of the keyboard and a secure login away from stations being back live.”

Visit www.tvunetworks.com

Arcitecta’s High-Speed Data Mover Transfers Billions of Files ARCITECTA HAS ANNOUNCED the launch of Mediaflux Livewire, a metadata-driven file transfer software solution that enables organisations to securely move billions of files at ultra-fast, nearline speeds across vast global distances and high-latency networks.

Data is at the core of almost every human enterprise. Over the past 30 years, the amount of data transmitted around the globe has grown enormously, and Statista estimates the amount of data generated will approach 200 zettabytes by 2025. With today’s large-scale data growth and collaborative, multi-site, geo-distributed workflows and workforces, organisations require better ways to move data as quickly and efficiently as possible.

“Arcitecta is redefining what it means to manage and move data.

As organisations increasingly leverage the best resources – people and systems – regardless of location, supporting the data requirements of globallydistributed work environments has raised the stakes for data management and movement,” said Jason Lohrey, Chief Technology Officer at Arcitecta. “For more than 20 years, Arcitecta has been dedicated to maximising the value embodied in data, managing data and reducing the end-to-end time for data-driven insights, decision-

making and outcomes. Now, with Mediaflux Livewire’s cutting-edge file transfer capabilities, our customers can accelerate the movement of data to make it available whenever and wherever needed – securely, reliably and at maximum speeds.”

LEVERAGING THE POWER OF METADATA Mediaflux Livewire leverages the power of metadata to optimise data movement via parallelised data transfers across latent networks and eliminate redundant file transfers. Metadata is information about the data, the hidden champion for big and complex data management. With organisations facing exponential data growth, leveraging metadata is shaping the future of creativity and business agility and empowering new opportunities across many industries, including highperformance computing (HPC), media and entertainment (M+E), higher education, government and more.

“Metadata is the most powerful tool for orchestrating a lot of data and can prove to be more valuable, and potentially even more insightful, than the ‘data’ itself,” said Alex Timbs, Senior Business Development Manager for Media and Entertainment, Dell Technologies. “That’s why when Arcitecta announced they planned to extend their data management

fabric to a powerful, ultra-fast data file transfer solution, I took notice, as demand for these types of solutions in the media and entertainment industry is at an all-time high due to an increased reliance on geo-distributed talent and workflows.”

“Arcitecta has taken the magic of its Mediaflux data management fabric – metadata, automation and ease of data management – and extended it to a powerful, high-speed data mover,” said Andrew Howard, Chief Judge of the Data Mover Challenge and associate director of cloud services at Australia’s National Computational Infrastructure (NCI).

“Data-intensive organisations need the ability to move massive data and metadata volumes quickly and securely across high-latency networks to support their distributed workflows, business requirements and growth. Mediaflux Livewire is able to move data across global networks with high bandwidth and latency to deliver file transfers at unprecedented speed, efficiency and scale – a huge win for organisations across the globe.”

Mediaflux Livewire is the highperformance data transmission system and network interconnect for Arcitecta’s Mediaflux data management fabric.

Mediaflux Livewire delivers the following capabilities:

• Transfers files at scale incredibly fast. Mediaflux Livewire has been clocked at over 10.5GB/s on a 100GE network and can transmit multiple terabytes of data in minutes across the globe over a similar network.

• Transfers billions of files.

Mediaflux Livewire optimally moves files regardless of size or type and scales as needed by coalescing small files together or splitting large files into optimal chunk sizes for the underlying compute or network infrastructure.

• Transfers files highly efficiently over networks. Mediaflux Livewire works with existing network infrastructure and industry-standard protocols. It efficiently functions on shared or ‘chatty’ networks and can use whatever headroom remains in the available network with optimum efficiency.

• Eliminates redundant file transfers. Mediaflux Livewire is a data management system that manages the overall transmission pipeline, including storage at each end, and optimises file transfers across limited, highlycontended or latent networks delivering significant workflow efficiencies.

Visit www.arcitecta.com

MEDIA IN THE CLOUD

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MEDIA IN THE CLOUD

Kioxia Introduces 2nd Generation SSDs With PCIe 5.0 THE FIRST VENDOR to offer a drive designed with PCIe 5.0 interface technology, Kioxia Corporation recently announced it has built on this achievement by introducing its second generation SSDs. The company’s new KIOXIA CD8 Series data centre NVMe SSDs (CD8 Series) are optimised for hyperscale data centre and enterprise server-attached workloads, and utilise PCIe 5.0 interface technology, which doubles the bandwidth over PCIe 4.0 from 16 gigatransfers per

second (GT/s) to 32GT/s. The CD8 Series is now available for customer evaluation.

Based on Kioxia’s 5th generation BiCS FLASH 3D flash memory technology, the CD8 Series utilises a proprietary Kioxia controller and firmware, which can be customised to customer needs, and is housed in a 2.5-inch, 15mm Z-height form factor. The new drives are designed to the PCIe 5.0, Open Compute Project (OCP) Datacenter NVMe SSD 2.0 and NVMe 1.4 specifications, and are

well-suited to applications and use cases that include highperformance computing, artificial intelligence, caching layer, financial trading and analysis.

Additional features include: • Read-intensive 1DWPD (Drive Write Per Day) endurance models targeted for hyperscale and server-centric workloads, in capacities from 960GB to 15.36TB. • Mixed-used 3DWPD endurance targeted models are available,

Starfish Simplifies Antipiracy Protection

ELEMENTS Boosts BOLT NVMe Performance

STARFISH TECHNOLOGIES, a pioneer in transport streaming processing, has added to its family of products for broadcasters and streamers. The new addition inserts watermark sequences directly into encoded media streams and were launched at NAB 2022.

HIGH PERFORMANCE media storage specialist ELEMENTS has announced a new version of its BOLTNVMe storage appliance. The new revision boasts updated hardware delivering hugely increased performance.

There is frequently a requirement to protect content when distributing valuable media over streaming feeds. The TS Watermark Inserter is a completely self-contained application that runs on COTS hardware. The device accepts an incoming transport stream or streams (SPTS or MPTS), decodes it, adds the

watermark overlay then re-encodes to the same format and bit-rate.

The watermark sequence is stored within the application and can be readily updated by the user. “This is one of those requirements that many organisations have for broadcast, IPTV and OTT,” said Peter Blatchford, CEO of Starfish. “You need to add anti-piracy protection but do not want to add a complex multi vendors solution. This is an integrated software application that does the job, seamlessly and costeffectively.”

Visit www.starfish.tv

Users recognise BOLT’s advantages in delivering consistently very high performance in demanding applications right across post production, at resolutions up to 8k. Because it is a large capacity device – 300TB of highperformance shared storage in a single 2U chassis – it means data managers do not need to worry about optimising the allocation strategy for power users in VFX and grading.

“We know that video professionals and post production facilities just want to get on with their creative workflows,” said André Kamps, CEO of ELEMENTS. “We originally conceived BOLT to give them the performance they need, while eliminating the tiresome business of

in capacities from 800GB to 12.8TB. • Delivers up to 1.25M random read IOPS and 7.2GB/s sequential read throughput, an improvement of approximately 14% over the previous generation version.

• Security options include sanitise instant erase (SIE) and self-encrypted drive (SED).

Visit www.kioxia.com

managing storage and moving files from disk to NVMe.” The new version of BOLT keeps the high capacity, but dramatically boosts data delivery. At 25GB/s per chassis BOLT was already 10 times faster than traditional NVMe devices. Now, thanks to an updated hardware platform, built on PCIe 4.0, it can deliver up to 70GB/s, meaning it can happily sustain a large team of demanding users.

“Developments in IT technology mean that we can now give BOLT a huge speed bump, making it even better for organisations,” explained ELEMENTS CTO Heiner Lesaar. “And along with the incredible performance, it still consumes only around a tenth of the power of a regular, disk-based 300TB shared storage device. Better performance; simpler operation; good for the environment.”

Visit https://elements.tv

Innodisk DDR5 Raises the Bar for Workstations workstations that push the limits of speed, capacity, and reliability in professional environments.

One of Innodisk’s clients, who has already put DDR5 to the test in a meaningful way, is a global company that designs and manufactures workstations for engineering, product design, architecture, data science, and VFX. They decided to use Innodisk’s 4800MT/s 32GB DDR5 UDIMM for their workstation computers. These workstations provide the ideal match for early DDR5 adoption as they offer server-grade performance, with high-end processors, and lots of memory, in a standard PC form factor for CPU and RAM-intensive

applications like graphics, 3D design, and video editing.

The client, whose end customers cover multiple industries including science and medical, film, mission critical applications, as well as manufacturing and design, was able to benefit from DDR5’s increased bandwidth, better power efficiency, and higher memory efficiency, while also future proofing the workstations they built with the latest and greatest standard in DRAM technology. The aforementioned improvements over DDR4 will allow customers to work faster, and more efficiently, while not having to worry about data loss, due to the extra layer

of protection through IC level checking that DDR5’s on-die ECC provides.

Innodisk currently offers the most comprehensive range of industrial-grade DDR5 solutions on the market, including UDIMM, SODIMM, RDIMM, UDIMM ECC, and SODIMM ECC. These memory modules also include Innodisk’s other industry-focused features, such as a 30″ gold finger and antisulfuration technology that adds a protective layer to safeguard silver alloys found on DRAM modules. https://www.innodisk.com

MEDIA IN THE CLOUD

INNODISK HAS ANNOUNCED a free upgrade included in the debut of its new industrial-grade DDR5 memory in workstations, which are powerful computers intended for specialised technical and scientific use cases. Bringing this new technology to market now gives early adopters the chance to demonstrate the realworld speed, and performance gains that were promised during the hype surrounding the announcement of DDR5 in 2021.

Now, as Innodisk begins mass production, the new technologies that DDR5 introduced, such as double bank groups, same bank refresh, on-die ECC, and dual subchannels are being utilised in

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AUDIO, RADIO RADIO, PODCAST AUDIO Digital soundwaves

Meta is Sounding Out the Metaverse META (FACEBOOK) artificial intelligence (AI) researchers and audio specialists from its Reality Labs team, in collaboration with researchers from the University of Texas at Austin, are making three new models for audio-visual understanding open to developers. These models, which focus on human speech and sounds in video, are designed to push us toward a more immersive reality at a faster rate.

Whether it’s mingling at a party in the metaverse or watching a home movie in your living room through augmented reality (AR) glasses, acoustics play a role in how these moments will be experienced.

According to the group, “We’re building for mixed reality and virtual reality experiences like these, and we believe AI will be core to delivering realistic sound quality.

“All three models tie into our AI research around audio-visual perception. We envision a future where people can put on AR glasses and relive a holographic memory that looks and sounds the exact way they experienced it from their vantage point, or feel immersed by not just the graphics but also the sounds as they play games in a virtual world.”

VISUAL-ACOUSTIC MATCHING Anyone who has watched a video where

the audio isn’t consistent with the scene knows how disruptive this can feel to human perception. However, getting audio and video from different environments to match has previously been a challenge.

To address this, Meta has created a self-supervised Visual-Acoustic Matching model, called AViTAR, which adjusts audio to match the space of a target image. The self-supervised training objective learns acoustic matching from in-the-wild web videos, despite their lack of acoustically mismatched audio and unlabelled data.

One future use case the company is pursuing involves reliving past memories.

The company says, “Imagine being able to put on a pair of AR glasses and see an object with the option to play a memory associated with it, such as picking up a tutu and seeing a hologram of your child’s ballet recital. The audio strips away reverberation and makes the memory sound just like the time you experienced it, sitting in your exact seat in the audience.”

VISUALVOICE VisualVoice learns in a way that’s similar to how people master new skills – multimodally – by learning visual and auditory cues from unlabelled videos to achieve audio-visual speech separation.

For example, imagine being able to attend a group meeting in the metaverse with colleagues from around the world, but instead of people having fewer conversations and talking over one another, the reverberation and acoustics would adjust accordingly as they moved around the virtual space and joined smaller groups. Meta says VisualVoice generalises well to challenging real-world videos of diverse scenarios.

Visit https://ai.facebook.com

SCA Launches World-First Study of Broadcast Audio Attention SCA IS PAVING THE WAY to measure broadcast audio attention with a worldfirst feasibility study to test broadcast audio attention globally in partnership with Professor Karen Nelson-Field’s Amplified Intelligence.

SCA is the first audio company internationally to pioneer measurement of broadcast audio attention to understand how live radio influences brand choice to exposed listeners.

SCA’s insights division, SCAiQ worked with Amplified Intelligence, the global leader in attention testing, and Professor Nelson-Field to conduct a feasibility study into broadcast audio attention.

AUDIO, RADIO, PODCAST

The exploratory study required Professor Karen Nelson-Field to devise a new methodology to re-engineer existing visual media techniques to measure the impact of sound.

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Among the initial findings, the study revealed that broadcast audio commands high attention, on par with other broadcast mediums, while SCA’s suite of audio performed better than some visual attention counterparts in the digital media space.

Commercial Radio Australia (CRA) and its members have committed to continue this

testing to develop audio attention metrics for broadcast audio and podcasting.

“The attention economy is the new oil for marketers and this world-first test of audio attention has the real ability to change the way they look at audio. More Australians are listening to more audio across more devices and their ‘audio diet’ continues to grow, with 16.8 million people tuning into audio every week. SCA has a compelling and trusted suite of premium Australian voices that connect and create high attention opportunities for advertisers. An audio attention metric is the missing piece of the puzzle to prove that relationship,” SCA CEO, Grant Blackley, said.

“As an industry leader and innovator, SCA is committed to finding the most robust audio insights for advertisers. As the first audio network to test attention, SCA is pioneering broadcast audio attention and we also look forward to working with the audio industry and CRA in furthering this important work.”

Professor Nelson-Field said: “Audio formats hold an important place in a visually tired society, they have the potential to drive solid attention from their listeners. Our initial feasibility study with SCA established a rigorous methodology for measuring attention for audio, and we are excited to

continue our work with them to extract true value from attention insights for their advertisers.”

SCAiQ Head of Sales Karen Nelson-Field, CEO Insights and Amplified Intelligence.

Campaign Strategy, Abi Wallis, said: “To date, the buzz around attention has focused on visual mediums, yet broadcast audio gets brands noticed and thought of in buying situations. Audio needed to be a part of this important conversation.

Preliminary findings from SCAiQ’s study with Amplified Intelligence validates environments we know to be powerful, signalling that broadcast audio attracts focused attention.

We’re excited that the CRA and our industry partners recognise the importance of getting audio attention into play and will continue this testing as a group.”

Visit www.southerncrossaustereo.com.au

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Industry-setting Axient ® Digital sound and performance. Now available to audio professionals in film & portable broadcast. shure.com/ADX5D

AUDIO, RADIO, PODCAST

On location. In the field. Or at the studio. Wherever production takes you, the ADX5D lets you capture clean, clear audio with standard slot-in portability.

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AUDIO, RADIO, PODCAST

Neumann NDH 30 Open-Back Headphones THE NDH 30 is a circumaural, open-back headphone with outstanding detail resolution and high-precision stereo imaging with razor-sharp localisation.

Its linear soundstage and superior transient response make it suitable for demanding applications such as mixing and mastering.

The NDH 30 was developed with the aim of making the reference sound of a Neumann studio monitor setup, perfectly calibrated via MA 1, available everywhere in the form of an easily transportable headphone.

At the same time, the NDH 30 forms its own sound reference in terms of headphone reproduction.

Its high-quality construction of spring steel and aluminium as well as its handling properties are largely the same as those of the NDH 20. However, the NDH 30 is an open-back headphone, which means that its dynamic 38mm transducers work as acoustic dipoles. This allows their highly refined sound characteristics to unfold optimally: extremely fast transient response, dry bass, uncoloured mids and transparent highs. The NDH 30 is designed to exhibit no sound colouration, but reproduce the signal 1:1.

The NDH 30 owes its linearity, among other things, to frequencyselective absorbers that eliminate the overemphasis in the high frequencies that leads

Neve 88M – Legendary Sound on the Desktop AMS NEVE has launched the 88M, its first Dual Mic Preamp and USB Audio Interface.

It uses the same transformerbalanced technology as Neve’s flagship large-format 88RS, bringing the legendary sound of AIR, Abbey Road and Capitol Studios into home and portable studio setups.

This robust front-end recording system is complemented with mastering-grade AD/DA conversion, producing worldclass fidelity and premier studio musicality throughout.

The USB-powered 88M has been designed with remote recording in mind.

Features include: 2x analogue preamp outputs (Mic/Line/ DI); 2x balanced analogue monitor TRS Line Outputs; 1x Balanced TRS headphone output; 8x ADAT digital inputs and 8x ADAT digital outputs via TOSLINK; IInsert send and return loop; USB 3.0 B -Type port for direct connection to Mac or PC; Class Compliant – Core Audio/ ASIO; Headroom: +18dBu @ 1kHz (<0.5% THD+N); Distortion (THD+N): Typically 0.008% @ 1kHz (measured at +18dBu, 10Hz to 80kHz filter); General noise: <-85dBu (A-wtg); and Frequency response (Mic/Line/DI): +/- 0.1dB 20Hz – 20kHz (+/- 0.5dB 10Hz – 35kHz).

AUDIO, RADIO, PODCAST

Preamp features include: Microphone input impedance (balanced): 1.5k Ohms; Microphone dynamic range: >110dB; Microphone input gain range: +21dB to 68dB; Line input impedance (balanced): 20k Ohms; Line input dynamic range: >111dB; Line input gain range: -35 – +35dB; DI input impedance (balanced): 900k Ohms; DI input dynamic range >100dB; and DI input gain range: +13dB to +60dB.

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Meanwhile, maximum output level for the monitor output is +18dBu with a dynamic range: >113dB while the headphone output (150 Ohm load) has a maximum output level of +10dBu, and a frequency response of 20-20kHz +/- 0.3dB. Visit www.ams-neve.com

to incorrect mixing decisions in many other headphones.

For example, the NDH 30 will accurately reveal whether a voice sounds muffled or needs a de-esser. The NDH 30 allows razor-sharp localisation in the stereo panorama and makes the depth of the mix evident. To minimise channel crosstalk, the NDH 30 is supplied with a highquality, cloth covered cable that is internally balanced.

The NDH 30 is compatible with a loudspeaker system that has been optimally calibrated using Neumann Automatic Monitor Alignment. Mixes begun at home or on the road using the NDH 30 can be continued in the studio using KH-Line

loudspeakers. At the same time, the NDH 30 is recommended as a headphone sound reference; headphones. The NDH 30 is suitable for checking headphone compatibility and creating binaural mixes of immersive content (including VR and gaming).

Visit https://en-de.neumann.com

Massive EQ from Pulsar Audio AMS NEVE PULSAR AUDIO’S MASSIVE is an emulation of the Manley Massive Passive EQ that is present in almost every mastering studio in the world.

The original Manley design featured a fully parallel topology of the EQ that gives a completely different kind of response to a digital equaliser with the same settings. A parallel equaliser’s tonal corrections aren’t cumulative, but tend to interact with each other, resulting in a more intuitive and fluid way to shape the frequency spectrum.

The whole equalisation circuit of the original hardware is passive, and therefore has several inductors.

These inductors, machined and wound specifically by the manufacturer, are responsible for a creamy, non-linear and organic sound due to the magnetic saturation they introduce. Finally, the input, output, and internal gain stages are entirely tube and transformer operated, providing another step of

warm and organic colouration.

Pulsar Audio’s software reproduces all these important aspects of the original hardware, but also offers an interface inspired by its ergonomics.

Key features of this EQ plug-in include visual curve editing for a fast workflow and a drive parameter to push the inductor and tube saturation stages harder, as well as a spectrum analyser.

Pulsar Massive is designed as a component-accurate model of the original unit, perfectly emulating its parallel EQ design and the unique sound-sculpting feeling. The Pulteclike low shelving filters introduced allow generous and tight low end, even at extreme boost settings. The high shelf filter provides a pristine top end and air without harshness.

Pulsar Massive says it has taken full advantage of modern CPUs to do more with less.

Visit https://pulsar.audio

Audient Releases Next Generation iD44 BRINGING IT INTO line with recent product upgrades, Audient has launched the iD44 (MKII) desktop audio interface.

The ADCs’ THD+N figure sees a 9dB improvement, while the iD44 (MKII) now also benefits from the addition of Audio Loop-back, so users have the ability to capture playback from multiple applications on the computer at the same time as the microphones – suitable for content creators, podcasters and streamers.

The incorporation of a dual headphone amp – including both a ¼-inch jack and a mini-jack, means three sets of

headphones can be plugged in at once.

Other features include: 4x Class-A Audient Console mic preamplifiers; 2x ADAT inputs and outputs for digital expansion; 2x Discrete JFET instrument inputs; 2x Fully balanced inserts; 1x independent headphone output; Main and Alt speaker outputs; Audio Loop-back; ScrollControl; 3x user defined function keys; Dedicated talkback, dim and cut controls; +48V, Pad, and HPF switches; Ultra-low latency DSP mixer; Wordclock output; Standalone mode; USB 2.0 compliant; and 24bit/96kHz processing.

Visit https://audient.com

AUDIO, RADIO, PODCAST

Wireless Sync for TASCAM Portacapture X8 TASCAM AND ATOMOS have announced the availability of wireless Bluetooth synchronisation for the TASCAM Portacapture X8.

With the addition of the optional TASCAM AK-BT1 Bluetooth dongle for the Portacapture X8 and either of the newly announced ATOMOS CONNECT devices, AtomX SYNC or Ultrasync Blue timecode sync adapters, videographers and audio professionals can now wirelessly synchronise the Portacapture X8’s 8-track recording capability using 192kHz/32-bit float point recording technology with a wide array of video cameras, including DSLR and Mirrorless models.

Used as the master timecode device, the ATOMOS Ultrasync Blue is an easy-to-use, low-cost, wireless timecode adapter that can synchronise any compatible camera and the Portacapture X8/AK-BT1 using ATOMOS AirGlu connectivity. With wireless Bluetooth transmission up to 30 meters for as many as six devices, the combined system provides greater freedom to

shoot from creative angles using smaller, more mobile cameras.

This setup can be expanded with the addition of the ATOMOS Ultrasync One, which offers the flexibility to function either as a transmitter timecode server or as a receiver client device.

Using the Ultrasync One as the Master Timecode source, a more sophisticated camera setup can receive a direct timecode feed while the Ultrasync One wirelessly sends timecode to the Ultrasync Blue which, in turn, can wirelessly feed the TASCAM Portacapture X8/AK-BT1, plus a variety of other devices.

For production environments using either the ATOMOS SHOGUN CONNECT, NINJA V or NINJA V+ to record and monitor on-set, the ATOMOS AtomX SYNC is yet another solution.

Mounted to the rear panel of either the NINJAV/V+, the AtomX SYNC connects multiple ATOMOS devices, cameras, and audio recorders using reliable long range RF wireless technology. When synchronising with the Ultrasync One, the AtomX SYNC can also bring the

TASCAM Portacapture X8/AKBT1 and other devices into the synchronised system via wireless Bluetooth synchronisation.

To facilitate wireless timecode synchronisation via Bluetooth, the Portacapture X8 control app will be updated to include the

tools necessary to use this new wireless sync function. Other commercial apps will also be compatible, including Apogee Metarecorder, Mavis Pro Camera, and MovieSlate 8 Logging.

Visit https://tascam.com and www.atomos.com

Compact Beamforming Shotgun Microphone

The ECM-B10 applies digital signal processing to the sound collected by four highperformance microphone capsules using beamforming technology. This allows the user to customise how the audio is recorded by enhancing the microphone’s sensitivity from different directions.

The microphone offers three types of directivity in a single product, allowing the user to easily switch between superdirectional, unidirectional, and omnidirectional.

When using super-directivity, the microphone collects sound from a narrow field in front and suppresses sound from other directions. The super directivity setting is a great option for interviews, vlogging, and other situations where the range of

sound collection is limited to a narrow extent at the front.

The ECM-B10 also offers unidirectional sensitivity that suppresses sound from behind while collecting sound from a wide field in front. This option is perfect for recording conversations between several people.

For additional flexibility, the user can also select omnidirectional sensitivity, which picks up sound equally from all directions and is ideal for recording environmental sounds.

The ECM-B10 offers crystal clear sound collection with effective noise suppression. Using digital signal processing within the microphone itself, the ECM-B10 effectively reduces noise for clearer sound collection and creates a more efficient postproduction workflow since less audio edits are required. The ECM-B10 pairs with cameras that are equipped with a MI (Multi Interface) Shoe, either analogue or for best results; with cameras with a digital audio interface 1 to transmit

audio directly as a digital signal to deliver high-quality sound recording without degradation. In addition, the microphone’s shock and vibration suppressing design effectively suppresses lowfrequency vibration noise, while its cable-less design eliminates noise transmitted via cables. The supplied wind screen minimises environmental noises, making it easy to capture crisp audio even when shooting outside.

The microphone’s compact body provides flexibility and mobility, even when using gimbals and grips. By connecting the ECM-B10 to a camera via the MI Shoe, users can also experience greater shooting flexibility without any cables to interfere with the side flip out screen, and replacement of batteries. Power is supplied directly from the camera to the microphone, so you can continue shooting without worrying about the microphone battery running out.

a comprehensive range of audio settings are available on the back of the microphone. This lets the user check the setting status at a glance, preventing any settings set by accident and provides peace of mind. For added durability, the ECM-B10’s design is resistant to dust and moisture, which allows for worryfree outdoor shooting when combined with a similarly dust and moisture resistant body and lens.

For detailed setting operation,

Visit https://www.sony.com.au

AUDIO, RADIO, PODCAST

SONY ELECTRONICS recently introduced a new beamforming shotgun microphone, the ECM-B10. This new microphone features Sony’s sharp directivity and digital signal processing, known as the ECM-B1M, in a remarkably compact form factor.

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AUDIO, RADIO, PODCAST

Next-Gen Broadcast Mics from DPA AS THE RAPID adoption of live streaming continues to grow in broadcast applications, speech intelligibility remains at the forefront of all productions. In recognition of the changes in the media landscape, DPA recently released the 4097 Micro Shotgun Microphone and Interview Kit, along with two other important broadcast mic solutions, the 4466 CORE Omnidirectional and 4488 CORE Directional Headset Microphones.

Based on the design of the company’s 6066 Subminiature Headsets, the new 4466 CORE Omnidirectional and 4488 CORE Directional Headset Microphones feature the brand’s 5mm round microphone capsule. These latest offerings provide the security, durability and flexibility necessary for use in broadcast, worship, theatre and corporate conferencing.

With a one-size-fits-all design and adjustable boom height and length, the 4466 and 4488 headsets accommodate all head shapes and sizes. A unique, three-point gripping system (above, below and behind the ear) ensures a greater level of security, while the flexible ear hooks provide continued comfort during extended use.

In addition, the new headsets share the same interchangeable cable and boom options as the 6066 Subminiature Headsets. This includes the 90-degree cable management guide at the neck. The headset frame, boom and capsule have a non-reflective surface for unobtrusiveness and ease-of-use for camera crews. With a high-quality, professional look, the 4466 and 4488 are available in black, brown and beige options.

AUDIO, RADIO, PODCAST

Featuring the same sonic qualities as the brand’s other supercardioid microphones, the 4097 CORE Micro Shotgun Microphone

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has been optimised to pick up speech from a distance.

Initially designed for plant miking applications, it is ideal for miking in small spaces because of its small footprint and clear audio pickup.

Additionally, when selected as part of the company’s new 4097 CORE Interview Kit, which includes a lightweight boom and windjammer, the mic enables journalists to conduct interviews from up to two metres (6.5 feet) away, making it the perfect tool for singlereporter interview applications.

Featuring a lightweight telescopic boom pole and a Rycote windjammer to provide ideal conditions for outdoor productions, the kit also includes DPA’s 4099 Cold Shoe Mount, a DPA MicroDot cable and a transmitter plate.

This plug-and-play solution allows singleoperator crews to quickly, easily and safely capture important news and information.

lightweight MMA-A Digital Audio Interface, the 4097 CORE Micro Shotgun becomes a complete remote recording package. The interface is a high-quality, two-channel microphone preamp and A/D converter offering mono, dual mono and stereo capabilities. Compatible with iOS devices, Mac or PC computer, the MMA-A provides crystal clear audio in a wide array of remote applications.

The sonic qualities of the 4097 CORE Micro Shotgun are particularly beneficial for placing mics in inconspicuous locations as it enables location sound experts to capture sound from anywhere on set. Used in combination with DPA boom mics and lavalieres, the 4097 Micro Shotgun becomes the final piece of a complete microphone package to meet the needs of any TV or film production.

Terminating in a MicroDot connection, the 4097 CORE Micro Shotgun can also attach directly to a transmitter and can be used with the company’s 4099 series mounts, clamps and clips for easy mounting on any surface.

Most recently, DPA released the MS4099 Mic Stand Mount, a sturdy and flexible solution for mounting the 4097 onto any mic stand.

Borrowed from the design of other DPA mounting options, the barrel of the MS4099 mic holder makes it quick and easy to attach or remove the microphone. In addition, the mount can be turned for vertical or horizontal use, pending application.

When used in conjunction with DPA’s

Visit www.dpamicrophones.com

Audient Partners with Sonarworks

Wheatstone Mic-to-Transmitter Virtualisation

AUDIENT has announced a new addition to its Creative Hub, ARC: a six month SoundID Reference Software Licence, free of charge. Further enhancing the benefits available to current Audient and EVO owners who register their products, this offer is available immediately and is available for one year.

SoundID Reference software from Sonarworks helps create music that sounds great on phones, laptops, earbuds – or wherever else it’s played. It works by setting the frequency response of your speakers and headphones to be completely flat across all audible frequencies, effectively eliminating all sound colouration. This then delivers consistently accurate studio reference sound across all speakers and headphones, so users can mix with confidence and make music that sounds great everywhere.

Katrina Allikas, CMO at Sonarworks says, “We’re excited to join the ARC program to offer all its members to try out our speaker and headphone calibration software for six months for free. We understand how challenging it is for creators to introduce something new to their workflow and that it takes time to adjust to new setups, therefore we wanted to offer a possibility to fully experience the difference for a significantly longer time than our regular trial. Audient and Sonarworks are all about simplifying things for creators so we hope that with this partnership we will offer more possibilities for young creators to make better music faster and with fewer technical hurdles.“

FULL VIRTUALISATION from mic to transmitter is now possible for broadcasters not yet ready to entrust their broadcast chain to a public cloud provider.

Visit https://arc.audient.com

New Wheatstone Layers introduces the entirely software-based broadcast chain from multitouch ‘glass’ consoles to backend mixing, audio processing and streaming into the transmitter or CDN provider.

Wheatstone Layers is the best of both worlds, combining the scalability of enterprise servers with the deep reliability of a Wheatstone facility.

• Host multiple instances from a standard IT server for several studios or locations connected by WheatNetIP audio networking.

• Mix and control from your laptop, tablet or other glass or physical control surface.

• Consolidate several stations and

studios into one or two servers.

• Add on in an instant. Instances can be added as needed for backend mixing, FM processing and stream provisioning, processing, and metadata management.

• Back up existing WheatNet-IP studios in a redundant server on or offsite. Additional physical studios are not required.

The Wheatstone Layers Software Suite runs on enterprise IP servers/ computers and replaces specialised hardware, specifically standalone audio processors, mix engines and streaming appliances. New Wheatstone Layers Glass Software for the laptop, tablet or other glass surface includes control interfaces as well as full-function radio and television virtual consoles with familiar buttons, knobs, and multitouch navigation.

Visit https://wheatstone.com

AUDIO, RADIO, PODCAST

mc2 36 ALL-IN-ONE

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AUDIO, RADIO, PODCAST

See the LAWO and PAT team at Booth 2, ABE 2022, 9-13th of August, Doltone House Sydney

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CONTENT DELIVERY Terrestrial, Mobile, Broadband

Foxtel Installs Largest TAG Monitoring Platform in the Southern Hemisphere In 2020 Foxtel started a project to exit the aging television centre facility at Macquarie Park. The plan involved migrating their entire technology platform across two sites in Sydney to an all-IP platform encompassing video routing, satellite, OTT and more.

AFTER MORE THAN 12 MONTHS of market research, testing and trialing various vendor IP monitoring solutions, Foxtel chose a TAG solution for all their IP monitoring requirements. This TAG monitoring solution, supplied by Magna Systems and Engineering, is the largest solution of its kind in the southern hemisphere and in the top ten solutions of its kind globally.

As Foxtel Head of Broadcast Engineering and Projects, Matthew Carter, explained, “We wanted to be able to not only view pictures on monitors but provide a real time probe of those signals across the full workflow to provide a full endto-end view of the video workflow across all formats and encoding type. The TAG solution does all of this and more.”

Matthew Carter, Foxtel Head of Broadcast Engineering and Projects.

Starting with an RFI in 2020, progressing to an extensive RFP in 2021 and followed by a POC, the TAG solution ticked all the boxes for Foxtel’s new multi-viewing and monitoring for all of their IP sources across multiple sites.

The TAG solution is now monitoring over 2000 sources across multiple sites with all types of IP signals including uncompressed HD and UHD, compressed HD and UHD, OTT – HLS, CMAF and DASH including DRM, NDI and any combination of these signals can be monitored on just one server. TAG is also a software solution running entirely on COTS hardware.

CONTENT DELIVERY

When the RFP was concluded Foxtel also opted for the latest DELL R650 server with dual ConnectX6 200GE cards. Each server is capable of monitoring up to 128 uncompressed SMPTE ST2110 HD inputs with -7 seamless switching protection.

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Carter continued, “We specifically purchased the TAG IP monitoring solution for its ability to decode and monitor across multi-formats.

It is still the only tool out there

that can do this within the same appliance at scale. We were also very impressed with Magna who supported us from start to finish.

They understood our requirements and worked closely with my team to provide the solution that fitted our needs. Magna have been on hand all along the way to help with any issues and to work with TAG on any request we have had.”

The new TAG IP solution is used across the entire Foxtel platform, from the ingest of the signal from playout or third parties, pre-compression and post compression. It is also used across multiple departments including MCR, Presentation and Foxtel’s Service Assurance teams across two sites under one control environment.

Carter continued, “With the introduction of the MCS controller management, control of the TAG platform has become much simpler. At the beginning of the journey this tool wasn’t even a reality to the customer but working closely alongside TAG and Magna we have helped shape the product and continue to do so.”

One example of how Foxtel uses the TAG solution comes in the form of the monitoring of its eventbased OTT streams. Using the fully

open API Foxtel has integrated this into its resource scheduling platform to provide operators with verification of customer delivery.

Foxtel’s automation system, in turn, then supplies TAG with the necessary CDN details associated with an event to start decoding and probing. This now means that the once cumbersome workflows of checking a physical device for the event start are no longer required as there is now a continued monitoring of the stream from start to finish.

VP Sales at TAG Video Systems, Adi Itzhaki, said, “When Foxtel and Magna approached TAG with this ambitious and forward-looking project, they presented a very clear challenge. Beyond transitioning to all IP, Foxtel needed to monitor multiple workflows and formats across multiple sites at high scale.

TAG’s MCM is the perfect fit for these requirements with deep real time monitoring across the entire chain along with the MCS control and analysis layer. With TAG and Magna, Foxtel managed to get a single point view of their workflow, while staying agile and aligning delivery to their evolving business requirements.”

Matthew Carter concluded, “TAG are the market leaders in the IP

Foxtel Head of Broadcast Engineering and Projects, Matthew Carter.

monitoring space. There is very little out there that can do what the TAG does on the same hardware, such as decoding multiformat streams all on one appliance. Using the TAG IP solution gives Foxtel an edge as it is a software-based solution so we can move away from dedicated hardware that becomes a technical debt over time. As improvements are made in OTS hardware Foxtel, TAG and Magna will move with them. The other edge we have is down to our long working relationship with Magna and in turn, Magna’s excellent relationship with TAG. It is these key relationships that enable us to work so closely with them and makes this a true partnership.”

Visit www.magnasys.tv

CONTENT DELIVERY

Etere 32.2 Supports Multicast UDP AS PART OF A FREE upgrade, Etere 32.2 enhances its ecosystem with support for multicast UDP in all its ETX technology based products including Automation, Ad Insertion, Nunzio Newsroom, and Multiviewer Converter.

Etere commits to adding to its growing list of supported protocols. As part of its latest upgrade, Etere 32.2 enhances its ecosystem with support for multicast UDP in all its products based on ETX technology. Etere releases complementary and regular software releases incorporating software upgrades for all users on a support contract.

Multicast is an effective method for one-tomany communication over an IP network.

For example, in the case of IPTV when the user changes from one TV channel to another.

Multicast also taps on network infrastructure efficiently by requiring the source to send a packet only once, even if delivery is to many receivers. In addition, the Multicast network reduces strain on network infrastructure and predictable bandwidth requirements. By using User Datagram Protocol (UDP) in ETX, Etere

users can set the stream PID for synchronising the video and audio packets.

Visit www.etere.com

Witbe Completes Witbox Test Lineup WITBE RECENTLY ANNOUNCED returned to face-to-face the launch of two new Witbox models: the Witbox+ and the WitboxNet. The original Witbox, now called WitboxOne, was launched by the group in 2021, thanks to its compact design – allowing for easily deployed remote testing – and future-proof capabilities.

Building upon these two core advantages, the group focused on making these aspects even better for the Witbox+ and the WitboxNet, in order to add even

more scalability and even more types of devices to test.

The Witbox+ focuses on scalability by allowing test engineers to connect and control eight times more 4K devices in the same amount of space. In addition to the 4K video and 5.1 surround sound support, the Witbox+ is also future-proof because of its Bluetooth and RF4CE control capabilities. These features allow the Witbox+ to support any video consumer device (Set-top Box,

Smart TV, iPhone, Android, Apple TV, Fire TV, Roku, or any other OTT device), to perform remote monitoring, test automation, and even run real-time video and audio quality algorithms, on all of those devices in parallel. This makes the Witbox+ the most compact and the most powerful test automation robot of the market – and a true technical prowess.

The WitboxNet focuses on web testing by allowing technology companies to test any kind of

web service. It can connect to the internet using Wi-Fi 6E, the latest Wi-Fi standard available, or a 2.5Gbps ethernet port, in order to support the most advanced web and gateway testing capabilities.

WitboxNet also comes embedded with the full power of the Witbe technologies, allowing web streaming companies to perform remote monitoring and run real-time video and audio quality algorithms on any type of content.

Visit www.witbe.net

Imagine Partners with Panasonic for IP Production

Imagine Communications is a KAIROS Alliance Partner. The Alliance encourages vendors to collaborate in areas like SMPTE ST 2110 interoperability and device connection verification to simplify the implementation of hybrid and IP systems.

“Today, live production companies are striving to achieve maximum benefits from the move towards an all-IP infrastructure without the need to dispense of existing hardware, and implementing proven, hybrid solutions helps to ease the transition,” said John Mailhot, CTO Networking and Infrastructure at Imagine Communications. “The seamless interoperability between the SNP and KAIROS is a perfect example of this type of solution.

We have already seen a number of successful

SNP/KAIROS implementations delivering tangible operational and commercial benefits.”

The 1RU SNP platform has found wide acceptance in the global broadcast and live production markets. Hosting a broad range of processing functions, it will handle conversions between ST 2110 and SDI, including 12G SDI as required, as well as up-, down- and cross-conversion between HD/UHD and SDR/HDR formats.

It also offers an HDR-capable production multiviewer personality, SNP-MV, which can integrate content from different video formats and HDR systems into a consistent display environment. The latest SNP release incorporates JPEG XS compression capabilities to provide production-quality, lowlatency interconnection that enables remote production workflows. The innovative design of the SNP enables the device to be easily reconfigured with any of these personalities, as well as ensuring the SNP can be fieldupgraded to support new functionality as

additional software modules are developed.

Panasonic’s KAIROS platform offers an open architecture system for live video switching with complete input and output flexibility, resolution and format independence, maximum CPU/GPU processor utilisation and virtually unlimited ME scalability. As a native IP, ST 2110 system, KAIROS supports transitions to live IP workflows and can eliminate dedicated hardware constraints.

In conjunction with the KAIROS switcher, the SNP can provide conversion for large numbers of SDI sources, multiplexing them onto a single fibre connection, eliminating the additional complication of a COTS switch. This fibre could allow the SNP and KAIROS to be several kilometres apart – suitable for large-scale outside broadcast production or campus installations.

Visit https://imaginecommunications.com

CONTENT DELIVERY

AS BROADCASTERS and production companies transition towards IP infrastructures, a technology partnership between industry leaders Imagine Communications and Panasonic is delivering practical, easily implemented and efficient hybrid and IP solutions using open, standardsbased products. In yet another application for Imagine’s Selenio Network Processor (SNP), integrators are using the software-based media processing platform to provide a highdensity SDI on- and off-ramp for the Panasonic KAIROS IP live video production platform.

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CONTENT DELIVERY

Haivision, Grass Valley Lower Latency for Live Cloud Production HAIVISION SYSTEMS and Grass Valley have partnered to provide media producers with a solution for contributing high-quality, low latency, and synchronised multi-camera SRT video streams into the GV AMPP (Agile Media Processing Platform), the cloud-based technology platform that underlies the GV Media Universe Alliance.

To provide customers with a single commercial contact, Grass Valley will resell and integrate Haivision products, including Makito X4 video encoders and decoders and the Haivision Hub video networking service.

The award-winning Makito X4 Encoder enables synchronous multi-stream live video

contribution to the GV AMPP cloud production platform, while Haivision Hub supports remote management of contribution encoders and video routing over private IP networks, the internet, and the cloud to GV AMPP. The combination of Haivision and Grass Valley technology is a complete solution for broadcast contribution, cloud-based live production, and real-time viewing of video feeds. As more media and entertainment companies turn their attention to harnessing the benefits of cloud and remote production, they can now leverage Haivision’s renowned ultra-low latency and high-quality video encoding for SRT stream contribution into the GV AMPP production

platform.

The Makito X4 Encoder supports 4K UHD and quad-HD inputs as a portable appliance for field deployment or as a blade within a high density 4RU rack-mount chassis supporting up to 84 HD or 21 4K inputs. The Makito X4 Encoder also supports 10-bit 4:2:2 video, HDR and SMPTE 2110 inputs for all IP contribution. Furthermore, Haivision’s ultra-low latency Makito X4 Decoder enables broadcast operators to interact dynamically with cloud resources without sacrificing system responsiveness.

Visit www.grassvalley.com and www.haivision.com

Actus Digital Enhances Intelligent Monitoring ACTUS DIGITAL HAS UNVEILED new features for its AI-based intelligent monitoring platform. The new Actus 8.0 platform includes Actus Synchro, an enhanced recording-multiviewer with QA monitoring and compliance logging, along with support for new standards, such as ATSC 3.0, SMPTE ST 2110/2022-6/2022-7, and SRT, to address applications for TV, radio, MVPDs, and more.

The Actus 8.0 platform offers advanced features for a diverse range of use cases, including:

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• MVPD Engineering and Operations: Actus RVM (Remote

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Video Monitoring) on the Actus 8.0 platform allows MVPDs to dial into set-top box channels at geographically dispersed headends and hub sites to troubleshoot issues in real time and verify if local ads were inserted and timed correctly, all from a single interface.

• Radio: Radio broadcasters will benefit from quality monitoring and alerting dashboards that enable the monitoring and control of thousands of distributed radio stations through a single interface.

• News: The Actus 8.0 platform

helps news teams through new features that improve programming and ratings by showing ratings graphs next to content from competitors, including keyword alerts. The Actus 8.0 platform also provides collaborative bookmarking and note sharing for news and talent development.

• Ad Sales: Ad sales teams can maximise PPM and revenue by using Actus AdWatch to generate lead lists, perform competitive ad analysis, and improve sales pitches to prospective advertisers by providing demographic ratings.

• Digital Media: Actus Clip Factory Pro empowers digital media teams to perform quick manual or automated clip editing, socialmedia publishing, and VOD content creation.

• Asset Management: Actus LightMAM increases the value of media archives, allowing users to create and enrich metadata via automated metadata extraction.

With AI-based metadata generation, users can create a metadata-rich asset library from scratch and/or integrate with existing MAM systems.

Visit https://actusdigital.com

Evertz Takes Live Production to Azure Marketplace

New Features for Haivision Hub Cloud Platform

EVERTZ HAS ANNOUNCED the availability of the DreamCatcher BRAVO Studio on Microsoft Azure Marketplace, allowing media companies and enterprises a flexible and costeffective all-in-one production studio for multi-camera live events.

HAIVISION RECENTLY announced some major new features have been added to Haivision Hub, its cloud-based SaaS for routing highquality SRT video streams at low latency.

DreamCatcher BRAVO Studio is a virtual live production studio that includes all the tools needed to create broadcast quality productions. BRAVO Studio captures multiple live camera feeds and Microsoft Teams participants and mixes them with other media (including video and audio).

Creators and producers can enhance their production with comprehensive audio mixing, multiple video overlays and transitions, slow motion replays, highlight packages, and data-driven dynamic graphics.

Using the global presence of

Microsoft Azure, operators can access all of BRAVO Studio’s tools via an intuitive web interface from anywhere in the world to professionally produce any live experience.

“With the inclusion of BRAVO Studio to Microsoft Azure Marketplace, we harness the advantages of a cloud platform to enable content creators to produce high quality live events to tell compelling and engaging stories,” says Mo Goyal, Sr. Director, International Business Development at Evertz. “As a Microsoft Partner, the availability of BRAVO Studio on Microsoft Azure Marketplace allows anyone to create and deliver a professionally produced, high quality live experience to their audience on any platform.”

Visit https://evertz.com

Easily remap, mix, and filter audio streams in real-time and assign to different

New features include: • Appliance management from the cloud: Users can now easily configure, monitor, and control all their Haivision edge devices including Makito video encoders and decoders, no matter where they are located.

• Route live video over any network: Video appliances can be remote controlled to stream to a decoder or player over the internet, a private IP network, or through Haivision Hub’s cloudnative transcoding and routing service.

content destinations, ideal for multilingual broadcasts.

• Real-time data and statistics: From a single web browser window, broadcasters and media producers are provided with a complete view of their live video network, from edge to edge, including real-time statistics and preview thumbnails for input sources, video processing, and destination outputs.

• Audio processing engine:

Visit www.haivision.com

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V__ matrix vm_udx Converts in All Directions LAWO’S V__ MATRIX platform does such an appreciated job at enabling a wide range of video and audio workflows and supporting the transition to a fully IP-based environment that Lawo celebrates its fifth anniversary with a constant flow of significant software-based enhancements.

The updated vm_udx application turns V__ matrix C100 softwaredefined processing blades into powerful up/down/cross converters with up to eight paths of format conversion and, additionally, up to four 3D LUT colour space conversion paths.

The latest software release, available on lawo.com, adds powerful new features that make conversion workflows more effective and Lawo’s future-proof V__ matrix platform more potent than ever.

In the light of a rapidly growing trend towards remote maintenance, vm_udx’s web UI allows operators to monitor which video content is currently processed by a given C100 blade.

The new Live Video Preview display allows users to visualise the video content received by an SDI or IP input, or the output of a processing stage, directly in vm_udx’s web UI. In response to vm_udx user

requests, Lawo has enhanced the +hdr colour space 3D LUT conversion engine. Each of the four vm_udx paths now features top-notch tetrahedral interpolation for conversions between a variety of colour spaces.

To support flexible audio workflows, vm_udx adds a range of new features. A newly designed downmix engine with 2048 monoequivalent inputs into 256 monoequivalent summing busses can be freely configured for flexible mono or stereo summing as well as dedicated 5.1 > stereo or 7.1 > stereo downmixing.

The digital gain range for all audio leveling instances has been extended to support level adjustments between –∞ and +24dB. In addition, vm_udx is able to interface with a MADI environment simply by adding the optional +madi license and communicating with the SDI rear plate connected to the processing blade that hosts the Up/Down/ Cross Converter. BNC connectors can be software-switched to MADI in almost any combination.

The new vm_udx release furthermore supports metadata workflows with an advanced ancillary-data handling engine.

Able to handle ANC data in

2110-40, 2022-6 and SDI signals simultaneously during the conversion process, users are free to keep, or remove, individual DID/SDID contained in the ANC payload.

The new +tc_gen license generates timecode flavours from PTP or other time sources and provides up to three independent generators. Generated ancillary timecode (ATC) formats, which can be embedded into TX and SDI outputs, include VITC1, VITC2, and LTC. Linear timecode (LTC) can be generated as a digital audio signal.

vm_udx app boasts advanced audio and ancillary data handling which complements its powerful up/down/cross video feature set,” said Stephan Türkay, Lawo’s Senior Product Manager Media Infrastructure. “The softwaredefined nature of Lawo’s V__ matrix ecosystem inherently means that its feature set can evolve as market requirements change. This flexible approach allows V__ matrix users to operate at the cutting edge for many years to come.”

“With this new release, the

Visit https://lawo.com

DURING THE RECENT NAB Show, Crystal Vision exhibited the latest video processing software apps for its MARBLE media processor hardware, all of which can work with IP, with SDI, or both IP and SDI simultaneously. The functionality offered by these apps – which support ST 2022, ST 2110 video and 31 different SDI standards including 1080p – includes chroma keying, linear keying, video delay, profanity delay, colour correction, legalising, picture-in-picture, and fail-safe switching.

Visitors with an interest in virtual production were able to see the new M-SAFIRE real-time chroma keyer software app.

Crystal Vision’s chroma keyers have always been regarded as the easiest to operate and the M-SAFIRE’s two quad split multiviewers facilitate setup by

allowing four of the processing stage signals to be viewed simultaneously along with the ability to zoom into any area.

The key can be faded up and down, while internal and external masks can be used to force areas of foreground or background.

The M-SAFIRE offers enhanced system timing features, being the company’s first chroma keyer to include reference redundancy, PTP as a timing source and ten frames of delay on the output as well as input.

With profanity delays among the company’s most popular products in the US, Crystal Vision also demonstrated its new M-CLEANIT IP/SDI profanity delay software.

The cover options include clean switching to two different video sources or a web page, blurring the video, showing black or blue or colour bars, muting individual

audio channels and switching to another audio source. To give the operator time to react, the M-CLEANIT allows an IP or SDI live content stream to be delayed by up to 600 frames, which is 24 seconds in 1080i50, 20 seconds in 1080i59.94, 12 seconds in 720p50/1080p50 and ten seconds in 1080p59.94. With intuitive control from a smart button box, separate reaction controls to event and restore and a fixed multiviewer output allowing the operator to monitor everything that is happening, the M-CLEANIT’s flexibility allows it to be fully customised for any workflow.

With Crystal Vision being the company that people come to when they have specialised processing needs, other MARBLE software apps were available for demonstration. These include

two keyers designed for IP and SDI channel branding and graphic overlay applications. The M-KEY is a traditional linear keyer, while the M-WEBKEY keyer can key a web page on to a video stream for those seeking to save money along with an easier workflow.

The M-PIP is a solution for IP or SDI playout applications that need one or two picture-in-picture boxes to be inserted into the main programme. Providing up to 32 seconds of video delay, the multi-channel M-VIVID range can be used to match short or long system delays in IP, SDI or mixed installations. Its Y stretches make the M-COCO-2 IP/SDI colour corrector and legaliser suited to correcting the contrast on in-shot monitors, with its built-in test pattern generator ensuring an easier workflow.

Visit www.crystalvision.tv

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Crystal Vision’s IP/SDI Video Processing Solutions

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001 >> DIGISTOR@VIVID >>

002 >> DIGISTOR@VIVID >>

003 >> DIGISTOR@VIVID >>

005 >> DIGISTOR@VIVID >>

006 >> POST-NAB@LUNA PARK >>

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007 >> POST-NAB@LUNA PARK >>

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004 >> DIGISTOR@VIVID >>

008 >> POST-NAB@LUNA PARK >>

009 >> POST-NAB@LUNA PARK >>

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010>> POST-NAB@LUNA PARK >>

012>> POST-NAB@LUNA PARK >>

015 >> POST-NAB@LUNA PARK >>

016 >> POST-NAB@LUNA PARK >>

019 >> SMPTE@JAM FACTORY CINEMA >>

020 >> SMPTE@JAM FACTORY CINEMA >>

011 >> POST-NAB@LUNA PARK >>

013 >> POST-NAB@LUNA PARK >>

017 >> SMPTE@JAM FACTORY >>

014 >> POST-NAB@LUNA PARK >>

018 >> SMPTE@JAM FACTORY >>

021 >> SMPTE@JAM FACTORY CINEMA >>

022 >> SMPTE@JAM FACTORY CINEMA >>

023 >> SMPTE@JAM FACTORY CINEMA >>

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See more photos at www.facebook.com/phil.sandberg

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POSITION VACANT CLASSIFIED

+ EVENTS

Senior Broadcast Systems Engineer Professional Audio & Television Pty Ltd. Hornsby, Northern Suburb of Sydney.

PAT has a vacancy for a Senior Broadcast Systems Engineer based in the north of Sydney. We are an authorised reseller and solutions provider for brands such as ARISTA, LAWO, Densitron IDS, TSL Products, Meinberg, Mobile Viewpoint, ENCO, Boland, RTW, CyanView, Boland Communications, Genelec, Qbit, StudioHub, DSA Volgman, AngryAudio, DreamChip, NVIDIA and other leading brands.

The role: The Senior Broadcast Systems Engineer role is a critical position performing end-to-end planning and documentation of deployment, configuration, testing and commissioning procedures for high-profile broadcast system projects. An intimate knowledge of IP broadcast networks is a MUST.

Typical responsibilities will include: • Assisting Senior Management with pre sales; • Project Management, planning and documentation; • Formulation of testing and deployment plans; • Broadcast systems configuration, testing and commissioning; • Liaison with manufacturers project teams and customer stakeholders; • Co-operate with our Service & Support Department To be the successful candidate for this position, you will have a combination of project engineering experience in digital IP broadcast system environments, together with outstanding customer-facing communication skills.

System integration experience is a MUST. As the performance of this role impacts state of the art broadcast IT systems and infrastructure deployments, a minimum of w5 years’ experience in similar broadcast technology environments is essential.

The successful candidate will have the following skills: • IT knowledge across server and networking fundamentals; • Track record of high quality, accurate documentation;

Get all the latest industry updates in one place, join us online.

• Excellent interpersonal, administrative and communication skills; • Flexibility to travel nationally & internationally as COVID restrictions are lifted; • Clean driving record and Class C drivers license We are offering the successful candidate the chance to join a very successful team of high achievers, an attractive salary package and the chance to work on some of the most cutting-edge broadcast projects in Australia and New Zealand.

Apply to: management@proaudiotv.com.au with a one-page cover letter explaining why you are the right person for the job and your CV. Only applicants with Australian or New Zealand citizenship or permanent Australian residency and work rights are eligible to apply.

https://content-technology.com contact adam@broadcastpapers.com for advertising opportunities

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LAWO…………………………….……………………………….57 LiveU…………………….……………………………………21 Magna Systems & Engineering …………………….…………15 On-Air Solutions …………………………………….…………..11 Panasonic ………………………………………….…………OBC Professional Audio & Television ……………….……….FC,3 Riedel …………………………………………………….………….9 Rohde & Schwarz ………………………….…………………..19

Ross Video ………………………………………………….………17 Silver Trak Digital ……………………………………….……..49 Sony Australia ………………………………………….……….29 Techtel……………………………………………………………..43 Vitec………………………………………………………………..39 Vizrt……………………………………………………………….13 Webinar Channel.tv ………………………………………….IBC

CLASSIFIED + EVENTS

CLASSIFIED + EVENTS

ADVERTISER INDEX ADVERTISER INDEX B l a c k m a g i c ABE2022……………………………………………….……IFC Blackmagic Design ……………………………….……………..5 Blonde Robot ……………………………….……………...32,33 FujiFilm Australia……………………………………….…..46,47 Grass Valley ……………………………….…………….……….25 Hollyland Australia …………………………………….……….27 Jands ………………….………………………………………….53

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